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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.
The economics of the recording companies dictate much that is not ideal.
Wagner’s operas were not composed as they were in order to permit the
extraction of bleeding chunks, even on those occasions when strophic song forms
Among the recent recordings of Mahler’s Eighth Symphony, Valery Gergiev’s release on the LSO Live label is an excellent addition to the discography of this work.
While not unknown, the songs of Alexander von Zemlinsky (1871-1942) deserve to be heard more frequently.
Recorded on 5 and 6 May 2008 and 17 and 18 January 2009 at the Lisztzentrum (Raiding, Austria), this recent Bridge release makes available the piano-vocal versions of three song cycles by Gustav Mahler, Lieder eines fahrenden Gesellen, Rückert-Lieder, and Kindertotenlieder performed by mezzo-soprano Hermine Haselböck, accompanied by Russell Ryan.
Contraltos rarely achieve the acclaim and renown of sopranos. Assigned few leading roles in opera, they are condemned to playing the villain or the grandmother, or to stealing the castrati’s trousers in en travesti roles.
Following their 2011 Decca recording of Striggio’s Mass in 40 Parts (1566), I Fagiolini continue their quest to unearth lost treasures of the High Renaissance and early Baroque, with this collection of world-premiere recordings, ‘reconstructions’ and ‘reconstitutions’ of music by Giovanni and Andrea Gabrieli, Monteverdi, Palestrina, and their less well-known compatriots Viadana, Barbarino and Soriano.
Eternal Echoes is an album of khazones [Jewish cantorial music] for cantorial soloist, solo violin and a blended instrumental ensemble comprising a small orchestra and the Klezmer Conservatory Band.
Michael Tilson Thomas’s recording of Mahler’s Third Symphony is an outstanding contribution to the composer’s discography.
Oliver Knussen burst into British music with an unprecedented flourish. In 1967, the London Symphony Orchestra premiered Knussen’s First Symphony, with István Kertész scheduled to conduct.
Based on performances given in Summer 2010 at the Lucerne Festival, this recording of Beethoven’s Fidelio is an admirable recording that captures the vitality of the work as conducted by Claudio Abbado.
Stanisław Moniuszko (1819-1872) was one of the most popular composers of his day in Poland, and of the many works he wrote for the stage, two are performed from time to time, Halka (1848) and Strazny dwór [The Haunted Manor] (1865).
The Polish alto Jadwiga Rappé is a familiar voice in various stage and concert works, and the recent release of a selection of songs by Stanisław Moniuszko (1819-1872) is an opportunity to hear her performing artsongs.
Originally released on multiple discs in 1981 this reissue on two CDs is a comprehensive collection of art songs by Italian and French composers from the nineteenth and early twentieth centuries.
An exciting contribution to the discography of this popular opera, the live performance of Richard Strauss’s Salome from the Festspielhaus at Baden-Baden is a compelling DVD.
Released in late 2011, Deutsche Grammophon’s DVD of the new staging of Berg’s Lulu at the Gran Teatro del Liceu, Barcelona is an excellent contribution to the discography of this fascinating opera.
A recent release by the Metropolitan Opera, this two-disc set makes available on DVD the famous performance of Berg’s Lulu that was broadcast on 20 December 1980 as part of the PBS series “Live from the Met.”
The novels of Sinclair Lewis once shot across the American literary skies like comets, alarming and fascinating readers of that era, but their tails didn’t extend far behind them.
Once the province of only the most dedicated opera fanatics, mid-20th century recordings of privately taped live performances have become more widely available.
Flute players in opera orchestra around the world must look forward to the frequent appearances of Donizetti’s Lucia di Lammermoor, knowing that while the stage spotlight in the mad scene will be on the soprano, the orchestral spotlight will be on their instrument.
19 Nov 2005
A happy feature of the King CD is the booklet in German and English: at least 7 pages full of information on the tenor. Then there is the pristine sound of the recordings. Though there is no mention of a concert source I’m fairly sure all the pieces (always followed by generous applause), are derived from the famous Münchner Sonntag Konzerte.
During the sixties and seventies they were regularly broadcasted and duly taped by German collectors who send them to their foreign correspondents. The concerts were proof of the German ‘Wirtschafswunder’ (Economic miracle) when money started to flow once more and they were generous indeed. Some of them found their way unto CD like the Olivero-Labo evening and the Bergonzi-Kabaivanska-Cappuccilli gala. James King was a regular who participated for many years.
The recordings on this CD were broadcast between 1968 and 1979 and are therefore testimony to the tenor’s stamina and vocal longevity; but they also show the slow deterioration of the voice. As is normal, the 1968-1970 recordings (Lohengrin, Parsifal, Frau) are the best. The raw power of the voice is there and tells us why people were stunned when he made his Met début in 1966 and his first “Gott” shook the walls. There was never great love between him and the Met (he was rejected five times during auditions) and after some good initial seasons he would only return in the eighties. King was a real heroic tenor in the old-fashioned way Melchior so much liked: he started as a baritone before becoming a heldentenor. He shows off a good stylish big voice majestically rolling along with a good free top. There is bronze in the sound and his legato is exemplary in the difficult Frau aria. A real beautiful pianissimo he hasn’t which is obvious in his Lohengrin aria where it’s remarkable how he has copied his interpretation from Konya’s classic performance (No coincidence. His career took off while substituting time and again for the Hungarian tenor). The difference with the 1977 and 1979-pieces however is striking. By that time the 54 year old tenor still had an awful amount of voice left, though there were now some chinks in his vocal harness. In the Fidelio aria the top sounds more constricted and he uses a lot of glottal attacks. He also cuts some corners by eschewing consonants. The Prize Song which was never meant to be sung by a baritonal tenor lies clearly somewhat too high. One hears him using great gulps of air and pushing the voice. The four big Otello pieces are sung well; indeed very well for a man his age but he cannot compete with another Konzert given ten years earlier (which appeared on Bella Voce 107.107) where he sings exactly the same Otello extracts with fresher tone and a more free top. Anyway this is a worthy testimony of the now 80-year old tenor who was much underrated during his best days. Time too to celebrate him by publishing his lieder- and especially his operetta-recital.
There is a marked difference with the Botha recital. The South-African tenor is not a Heldentenor but a big lirico; maybe a shade too light for Die Walküre (though Georges Thill is one of the best and most musical Siegmunds on record). I fear the recording doesn’t help either. I’ve heard Botha in the flesh and he sings broader and more voluminous in reality than in this piece where the voice sounds a bit too slender, without heft. In all the other arias and duets he is splendid, using his means for the best. He has made formidable progress since his first recordings 10 years ago. His Wagner singing is much helped by the many hours of work he put into his Italian roles. I heard him sing an exquisite messa di voce in Celeste Aida (he had worked on it for years, he told me) and this pays off. Take his Am stillen Herd: very sensitive singing and no barking. Both the Meistersinger Prize Song and the Lohengrin narrative start with a soft lovely tone spinning out the music in a very poetic manner. The way he caresses “eine Taube” equals Konya’s classic recording. Botha even adds the coda to the aria, cut by Wagner though reinstated on the Konya-Amara-recording. Here too it only proves that Wagner knew this was worthless and I’d much have preferred Botha recording “Ein Schwert verhiess mir der Vater”. So what is the catch? Well there is one and it’s something Botha cannot do much about. The basic material of the voice is not very rich, not very distinguished, not very personal. In the house this may pass but on record one is too much aware of his lack of outstanding God-given means. Nevertheless I and a lot of other people would be mighty happy to have him in a house-performance of one of the more lyrical Wagner parts as he has so improved musically. Compared with his Italian recital of four years ago (on Arte Nova, which he financed half himself he said) he has once more markedly refined his art and there are few tenors who can boast about such a feat once they have scored their first big successes. Botha is ably partnered by his sopranos and the orchestra, though I don’t like Simone Young sometimes stopping for a second to make a musical point.