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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.
13 Nov 2005
This is the third re-issue (in Europe anyway) on CD of the only existing studio recording of Stiffelio. Luckily it is a rather good one as its live competitors are not recordings for eternity. Neither Limarilli in 1968 nor Del Monaco (at his coarsest in 1972) have much sense of style, let alone a knack for true Verdi-phrasing. Not that José Carreras is flawless.
At the time of recording (June 1979) he was at the height of his powers; a mere two years before early deterioration first slowly but soon rather quickly set in many years before his bout with illness. No, he doesn’t sob like Del Monaco and he keeps a firm line unless Limarilli but he pushes his voice without mercy in a role a shade too heavy. Less charitable souls would call it yelling from time to time as he sings as if he’s permanently overexcited. Maybe it wouldn’t matter less if there would be flashes of insight, memorable phrases with an unexpected pianissimo here and there but it remains most of the time a very beautiful voice rolling along rather musically. One regrets that Philips didn’t ask Carlo Bergonzi to record the role. True by 1979 there was no way the 55-year old tenor could have hidden the permanent flatness above the stave but even in his 1983 Oberto-recording he gave every other tenor an object lesson in noble Verdi-phrasing.
The female lead is sung by another early burn-out: Sylvia Sass; the difference with Carreras in this recording being twofold. First the 28-year old soprano is in splendid voice and contrary to the tenor there are no warning signs she is singing a role less suited to her means and secondly she brings the role of Lina to live with appropriate musical means. Though never making an ugly sound she phrases deliciously in her aria and her duets with baritone and tenor convincingly portraying the anguish and hopes in great flights of sound or mere whispers. Matteo Manuguerra is a distinguished Stankar. His is not the most beautiful or smooth voice but the voice has character and the unmistakeable brown sound of the true Italian Verdi baritone. The voice is homogeneous and manly though he too can be a little bland in his phrasing. The big aria could have done with a little more anguish and the cabaletta with a little more fury. Giulio Fioravanti on the Del Monaco-recording has a slightly better grasp on the agonies of Lina’s father. By the time of the recording Vladimiro Ganzarolli, once one of the great hopes of La Scala, was already reduced to a small bit player but he has still voice enough to be an impressive Jorg. Ezio Di Cesare sings well in probably the most ungrateful Verdi-tenor-part; neither a comprimario nor a title role.
The sound is still fine and the Vienna Radio Orchestra doesn’t have to feel inferior to their more famous Wiener Symphoniker-brethren. Lamberto Gardelli was for many years a stalwart in the conducting business of less known Verdi-operas. And more than once he was reviled as being pedestrian (Carlo Rizzi nowadays suffers the same fate most of the time). Well, I cannot hear anything pedestrian in his sure-footed approach; his respect for Verdi’s markings and his assisting his singers without unduly hurrying them for effect. All in all, a satisfying recording of an opera that grows more and more on you the more you play it. And once you know this once almost forgotten score, you’ll be eager to see a production as a Stiffelio-performance (I saw productions in Amsterdam and Liège) is immensely rewarding in the theatre.