Recently in Recordings
Two new recordings from highly acclaimed specialists Opera Rara -
Gounod La Colombe and Donizetti Le Duc d'Albe.
It is not often that a major work by a forgotten composer gets rediscovered
and makes an enormously favorable impression on today’s listeners. That has
happened, unexpectedly, with Herculanum, a four-act grand opera by
Félicien David, which in 2014 was recorded for the first time.
This recording, made in the Adrian Boult Hall at the Birmingham Conservatoire of Music in June 2014, is the fourth disc in SOMM’s series of recordings with Paul Spicer and the Birmingham Conservatoire Chamber Choir.
Félicien David’s intriguing Le désert, for vocal and orchestral forces plus narrator, was widely performed in its own day, then disappeared from the performing repertory for nearly a century.
This well-packed disc is a delight and a revelation. Until now, even the
most assiduous record collector had access to only a few of the nearly 100
songs published by Félicien David (1810-76), in recordings by such notable
artists as Huguette Tourangeau, Ursula Mayer-Reinach, Udo Reinemann, and Joan
Sutherland (the last-mentioned singing the duet “Les Hirondelles”
This new release of John Taverner’s virtuosic and florid Missa
Corona spinea (produced by Gimell Records) comes two years after The
Tallis Scholars’ critically esteemed recording of the composer’s
Missa Gloria tibi Trinitas, which topped the UK Specialist Classical
Album Chart for 6 weeks, and with which the ensemble celebrated their
40th anniversary. The recording also includes Taverner’s two
settings of Dum transisset Sabbatum.
Sounds swirl with an urgent emotionality and meandering virtuosity on Jonas Kaufmann’s new Puccini album—the “real one”, according
to Kaufmann, whose works were also released earlier this year on Decca records, allegedly without his approval.
Marion Cotillard and Marc Soustrot bring the drama to the sweeping score of Arthur Honegger’s Jeanne d’Arc au
bûcher, an adaptation of the Trial of Joan of Arc
Stephen Paulus provided the musical world, and particularly the choral world, with music both provocative and pleasing through a combination of lyricism and a modern-Romantic tonal palette.
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.
28 Nov 2005
MACMILLAN: Seven Last Words from the Cross
The compositions of John Tavener, Arvo Pärt, and Henryk Górecki have accustomed us to the degree that religious spirituality has found serious musical voice in the late twentieth century. In their works, a profound language of musical mysticism is wed to various liturgical evocations, creating compositions that seem both authentic in their expression and unusually personal in their genesis.
In the next generation, the Scottish composer James MacMillan has emerged as a strong heir to this tradition, and in the present recording his “Seven last Words from the Cross,” “On the Annunciation of the Blessed Virgin,” and “Te Deum” are striking examples of the ways in which this is so.
“The Seven Last Words” is a large-scale work, commissioned by the BBC in 1994. Its overall power and control of scale may remind one of Pärt’s Passio, but where Pärt is intensely minimalistic, MacMillan employs strong contrasts and juxtapositon to address the drama of the Crucifixion. Often haunting, the score takes one into the reflective inner depths that surround the words of Jesus on the cross, while at the same time immersing one in the dramatic progression of events on Golgotha. The dynamic interplay of dramatic progression and inner reflection is, of course, familiar from works like the Bach Passions, but there it is a textual division of duty—alternating prose narrative and poetic reflection—that elicits and brings order to the interplay; MacMillan’s texts, on the other hand, are the scriptural words from the cross with various liturgical texts from Holy Week (mostly Good Friday), and their weave is generally a smooth one: the interplay is unitive and organic—not bi-modal. Chant-like formulas, voluminous climaxes, medieval evocations of early counterpoint, English pastoral string writing, angular aggression—all of these are employed by MacMillan in a way that animates both the drama and the reflection in a powerfully integrated composition, with voice and orchestra sharing equal portions of the expressive burden.
I was struck by this same sense of integration in the setting of the Te Deum, as well. The opening (“We praise thee, O God, we acknowledge thee to be the Lord . . .”) juxtaposes slow-moving, low, male chordal declamations—reminiscent of Russian liturgical music—with a rhapsodic soprano line. The chordal texture seems to describe and narrate—“we praise”—while the soprano lyricism enacts the praise.
The choir Polyphony is admirably well suited to the demands of MacMillan’s challenging scores. Their leanness of tone and pliancy of sound position them to bring a high degree of control to their singing, and while their softness is perhaps most notable, the powerful, free resonance of their loud passages is memorable indeed. This is music-making of a very high order, and MacMillan’s extraordinary vision surely deserves nothing less.