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Das Rheingold launches what is perhaps the single most ambitious project in opera, Richard Wagner’s Der Ring des Nibelungen.
This live performance of Laurent Pelly’s Glyndebourne staging of
Humperdinck’s affectionately regarded fairy tale opera, was recorded at
Glyndebourne Opera House in July and August 2010, and the handsomely produced
disc set — the discs are presented in a hard-backed, glossy-leaved book and
supplemented by numerous production photographs and an informative article by
Julian Johnson — is certainly stylish and unquestionably recommendable.
Recorded at a live performance in 2012, this CD brings together an eclectic
selection of turn-of-the-century orchestral songs and affirms the extraordinary
versatility, musicianship and technical accomplishment of mezzo-soprano
Once I was: Songs by Ricky Ian Gordon features an assortment of
songs by Ricky Ian Gordon interpreted by soprano Stacey Tappan, a longtime
friend of the composer since their work on his opera Morning Star at
the Lyric Opera of Chicago.
Alfredo Kraus, one of the most astute artists in operatic history in terms of careful management of technique and vocal resources, once said in an interview that ‘you have to make a choice when you start to sing and decide whether you want to service the music, and be at the top of your art, or if you want to be a very popular tenor.’
In generations past, an important singer’s first recording of Italian arias would almost invariably have included the music of Verdi.
With celebrations of the Verdi Bicentennial in full swing, there have been
many grumblings about the precarious state of Verdi singing in the world’s
major opera houses today.
In the thirty-five years immediately following its American première at the Metropolitan Opera in 1914, Italo Montemezzi’s ‘Tragic Poem in Three Acts’ L’amore dei tre re was performed in New York on sixty-six occasions.
Few operas inspire the kind of competing affection and controversy that have surrounded Mozart’s Così fan tutte almost since its first performance in Vienna in 1790.
During his career in film, opera, and operetta, Richard Tauber (1891 - 1948) enjoyed the sort of global fame that eludes all but the tiniest handful of ‘serious’ singers today.
Known principally for its two concert show-pieces for the leading lady, the success of Francesco Cilea’s Adriana Lecouvreur relies upon finding a soprano willing to take on, and able to pull off, the eponymous role.
It would be condescending and perhaps even offensive to suggest that singing
traditional Spirituals is a rite a passage for artists of color, but the musical heritage of the United States has been greatly enriched by the performances and recordings of Spirituals by important artists such as Paul Robeson, Marian Anderson, Leontyne Price, Martina Arroyo, Shirley Verrett, Grace Bumbry, Jessye Norman, Barbara Hendricks, Florence Quivar, Kathleen Battle, Harolyn Blackwell, and Denyce Graves.
As a companion to their excellent Great Wagner Singers boxed set
compiled and released in celebration of the Wagner Bicentennial, Deutsche
Grammophon have also released Great Wagner Conductors, a selection of
orchestral music conducted by five of the most iconic Wagnerian conductors of
the Twentieth Century, extracted from Deutsche Grammophon’s extensive
There could be no greater gift to the Wagnerian celebrating the Master’s
Bicentennial than this compilation from Deutsche Grammophon, aptly entitled
Great Wagner Singers.
What better way for Masonic brothers, Wolfgang Amadeus Mozart and Emmanuel Shikaneder to disseminate Masonic virtues, than through the most popular musical entertainment of their age, a happy ending folktale that features a dragon, enchanting flutes and bells, mixed-up parentage, and a beautiful young princess in distress?
Since its first performance at the Teatro Santi Giovanni e Paolo during Venice’s 1643 Carnevale, Monteverdi’s L’Incoronazione di Poppea has been one of the most important milestones in the genesis of modern opera despite its 250 years of unmerited obscurity.
Though 2013 is the bicentennial of the births of Giuseppe Verdi and Richard Wagner, the releases of Cecilia Bartoli’s recording of Bellini’s Norma on DECCA, a new studio recording of Donizetti’s Caterina Cornaro from Opera Rara, and this première recording of Saverio Mercadante’s forgotten I due Figaro, suggest that this is the start of a summer of bel canto.
Recording Richard Wagner’s Der Ring des Nibelungen is for a
record label equivalent to a climber reaching the summit of Mount Everest: it is the zenith from which a label surveys its position among its rivals and appreciates an achievement that can define its reputation for a generation.
Few people who love opera in general and bel canto in particular have never heard the comment made by Lilli Lehmann, veteran of the inaugural Ring at Bayreuth in 1876, that singing all three of Wagner’s Brünnhildes—in Die Walküre, Siegfried, and
Götterdämmerung, respectively, all of which she sang to great acclaim—pales in comparison with singing the title rôle in Bellini’s Norma.
Paul Dukas’ Ariane et Barbe-Bleue, first heard in 1907, once seemed important. Arturo Toscanini conducted the Met premiere in 1911 with Farrar and later arranged some of its music for a 1947 recording with his NBC Symphony.
17 Nov 2005
An Introduction to... MASSENET Werther
For anyone who is remotely familiar with opera, the first question would be, “What is the need for a recording like this?” Of course, not being familiar with the CD justifies the question, but once it has been played, the realization sets in that the answer was there all along.
For sure, not a CD which most people would play every day, and though, Thomson Smillie has not re-invented the wheel, therein lies the beauty. Most opera aficionados do not know the little secrets Smillie so casually and cleverly points out. Who would have thought that Meyerbeer, Halevy, Herold or Auber did not start the trend later known as Grand Opéra? Who would have thought that French “musical style,” as uniquely French as Champagne, is not really French? And the food? Of course don’t ask a Frenchman.
This overview, as written by Smillie, is clever, instructive, humorous, detailed, extremely interesting, and though fact filled, it is not boring. Smillie takes the listener from the beginning of opera, in Florence Italy, to the present. Different phases of the art form are touched upon, and the author provides plenty of examples of different operas, and vocal, or instrumental snippets to pique one’s interest.
Smillie goes on to explain the sequence and relationship between the different French composers (some of whom were not born in France!) finally settling on Massenet, and his opera, Werther. The author provides background information on Goethe, and how he came to write The Sorrows of Young Werther, upon which the opera is based. Prior to detailing the plot of the opera, Smillie provides some information on other Massenet operas and his progress as a composer.
From the opening chords in the overture to the last note of the opera, Smillie explains the important, and not so important details in the story and in the music, along with other interesting bits of information. Again, the listener is treated to many musical examples that directly relate to the explanation of the work, and of the musical moments being discussed. By the end of the CD, the listener feels as familiar with Werther, as one who has listened to the opera countless times.
Thomson Smillie, better known for his involvement with Wexford Festival, the Opera Company of Boston, and the Kentucky Opera, has written the “Opera Explained” series for Naxos, which includes two dozen titles.
Side by side with Smillie is the “voice” of the story, David Timson, who narrates the “Opera Explained” series. Timson studied acting and singing, and has taken part in several successful stage and television presentations, in addition to recording a series of audio books for Naxos. Timson’s unique voice is well suited for this kind of platform; he has a slight “English” accent which is never pompous, or difficult to understand; he has a fantastic sense of timing; his diction is impeccable, and his pronunciation of “foreign words” is accurate, but never affected. The timbre in his voice is quite pleasant, and it adds enough sophistication to the recording to make it, in addition to Smillie’s text, well worth listening to the complete CD.
The musical excerpts of Werther are from a Naxos recording of the opera (Werther-Naxos 8.660072-73) with Marcus Haddock, Béatrice Uria-Monzon, and René Massis leading the cast.
Even though there is never too much information, this CD is not for those who live and breathe opera. This series, “Opera Explained” is the ideal vehicle for someone who is starting to develop a taste for opera, or for those who would not venture to buy an opera recording without knowing anything about it, or simply, when wanting to have some general background information on a composer, or a particular work.
The liner notes are informative, and provide a synopsis of the opera.
Daniel Pardo 2005
Liner notes by Thomson Smillie
© 2005 Naxos