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The Feast at Solhaug : Henrik Ibsen's play Gildet paa Solhaug (1856) inspired Wilhelm Stenhammer's opera Gillet på Solhaug. The world premiere recording is now available via Sterling CD, in a 3 disc set which includes full libretto and background history.
Honours yet again to Oehms Classics who understand the importance of excellence. A composer as good, and as individual, as Walter Braunfels deserves nothing less.
‘Can great music be inspired by the throw of the dice?’ asks Peter Phillips, director of The Tallis Scholars, in his liner notes to the ensemble’s new recording of Josquin’s Missa Di dadi (The Dice Mass). The fifteenth-century artist certainly had an abundant supply of devotional imagery. As one scholar has put it, during this age there was neither ‘an object nor an action, however trivial, that [was] not constantly correlated with Christ or salvation’.
Francesco Cavalli’s La Calisto was the composer’s ﬁfteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.
New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.
Edouard Lalo (1823-92) is best known today for his instrumental works: the
Symphonie espagnole (which is, despite the title, a five-movement
violin concerto), the Symphony in G Minor, and perhaps some movements from his
ballet Namouna, a scintillating work that the young Debussy adored.
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.
17 Nov 2005
Soprano Songs and Arias
For those who frequent the Santa Fe Opera and Houston Grand Opera, Ana María Martínez is well-known as a superb lyric soprano on her way to a stellar career. With the release of this collection of songs and arias for soprano, the rest of the world will come to know this as well.
Ana María Martínez debuts at the Metropolitan Opera on November 19 performing the role of Micaela in Carmen, an occasion with which this release by Naxos is intended to coincide. This collection consists of eleven pieces by eight composers that range from the familiar to the obscure. Of the familiar, she has selected three arias by Puccini: “O mio babbino caro” (Gianni Schicchi), “Chi il bel sogno di Doretta” ( La Rondine) and “Un bel dì vedremo” (Madama Butterfly). Then there are Gounod’s “Je veux vivre” (Roméo et Juliette), Lehár’s “Vilja-Lied” (Die lustige Witwe), Delibes’ “Les filles de Cadix,” Canteloube’s “Baïlèro” (Chants d’Auvergne) and “Aria (Cantilena)” from Villa-Lobos’ Bachianas-Brasileiras No. 5 for voice and eight cellos. Finally, there are Pablo Luna’s “De España vengo” (El Niño Judio), Francis López’s “Violetas imperiales” and “Dança (Martelo)” from Bachianas-Brasileiras No. 5. A wide range, indeed, of musical styles, vocal color and emotional expression that Martínez navigates with ease.
Martínez possesses an instrument of astonishing range, flexibility and ringing top that is ideally suited to the Romantic and Post-Romantic musical literature presented here. There is no doubt, moreover, that her precise phrasing, intonation and dynamics all contribute to a most satisfactory musical result. In many respects, her voice is reminiscent of that of Bidú Sayão, albeit with a tad more weight, power and opacity. There are no mannerisms apparent in this recording. At times her slurs border on portamento, but always with the requisite dramatic effect. It is a pity that works by Handel, Mozart or Strauss are not included to give the listener a complete sample of her musicality. There is one caveat. This recording was made in August 2000. So it is likely that her voice has matured to some degree during the past five years.
Steven Mercurio conducts the Prague Philharmonia with aplomb. The engineers have done well to achieve optimal balance between the soloist and the orchestra.
This recording is highly recommended. Let us hope that many more are forthcoming.