Recently in Recordings
Richard Taruskin entitled his 1988 polemical critique of the notion of ‘authenticity’ in the context of historically informed performance, ‘The Pastness of the Present and the Presence of the Past’.
As the editor of Opera magazine, John Allison, notes in his editorial in the June issue, Donizetti fans are currently spoilt for choice, enjoying a ‘Donizetti revival’ with productions of several of the composer’s lesser known works cropping up in houses around the world.
Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and
Carolyn Sampson has long avoided the harsh glare of stardom but become a favourite singer for “those in the know” — and if you are not one of those it is about time you were.
This Winterreise is the final instalment of Matthias Goerne’s series of Schubert lieder for Harmonia Mundi and it brings the Matthias Goerne Schubert Edition, begun in 2008, to a dark, harrowing close.
This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.
We see the characters first in two boxes at an opera house. The five singers share a box and stare at the stage. But Konstanze’s eye is caught by a man in a box opposite: Bassa Selim (actor Tobias Moretti), who stares steadily at her and broods in voiceover at having lost her, his inspiration.
Richard Strauss may be most closely associated with the soprano voice but
this recording of a selection of the composer’s lieder by baritone Thomas
Hampson is a welcome reminder that the rapt lyricism of Strauss’s settings
can be rendered with equal beauty and character by the low male voice.
Bernarda Fink’s recording of Gustav Mahler’s Lieder is an important new release that includes outstanding performances of the composer’s well-known songs, along with compelling readings of some less-familiar ones.
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.
08 Nov 2005
Hear My Prayer
This anthology, a twentieth-anniversary commemoration of Aled Jones’ first recording for the Welsh company, Sain, is a re-issue of that 1983 recording, “Diolch â Chân,” along with several other tracks from the mid-1980’s. Jones stepped out of the choir stalls at Bangor Cathedral to become a highly marketed treble, and his relative celebrity, as attested here, was well deserved.
The recording’s program is wide ranging, and includes classics like Mendelssohn’s demanding “Hear My Prayer,” Mozart’s “Laudate Dominum,” and the “Pie Jesu” from Faure’s Requiem, chestnuts like Malotte’s “Lord’s Prayer,” Franck’s “Panis Angelicus,” and Schubert’s “Ave Maria,” a number of lesser known works like Michael Head’s Christmas jewel, “The Little Road to Bethlehem,” or Fred Cowan’s “The Children’s Home”--Victoriana at its most Victorian--and even a pop song or two, for good measure. The program is an old-fashioned one, decidedly lacking in musical sophistication, but remarkably well suited to display the musical gift of a then remarkable young boy.
Jones’ sound is an engaging one, more soloistic than choral, with a vibrato that surprises at first hearing, but that grows increasingly congenial with repeated hearings. He sings with commanding confidence, expressive flair, and a mature sense of line and contoured phrasing, all of which underscore his giftedness. Particularly memorable here is his exquisite rendition of the Faure “Pie Jesu” (unusual in a Welsh translation) and his “Hear My Prayer,” a performance that is dramatic and dynamic, as well as a considerable test of endurance . . . a test he amply survives.
There are problems here and there. Most notable perhaps is that all of the pieces tend to sound stylistically the same—the style is uniformly “Aled.” And that, as I have noted, is engaging and impressive, but the uniformity of style seems to underscore the youthfulness of the endeavor. Two of the pieces, the title anthem and the Mozart “Laudate Dominum” are with choir and organ. And here, ensemble coordination is problematic, with the organ conspicuously out of synch on occasion, and the choir from time to time overly robust in its enthusiasm.
Today Jones is prominent in the UK as both a singer and a broadcaster with the BBC. His days of cassock and ruff and the first row of the choir are long past, but one can only suspect that they have served him well. Certainly he was a boy treble of great distinction.