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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.
04 Dec 2005
DONIZETTI: Lucia di Lammermoor
A superstar in Europe, Edita Gruberova can rest assured that future generations have the opportunity to appreciate her artistry: the record label Nightingale Classics exists primarily, it seems, to record her in her greatest roles.
The inside CD cover of this Lucia di Lammermoor even presents an advertisement for a biography written by Niel Rishoi, who also provides a booklet essay on the opera.
Gruberova’s agility and plaintive tone make her an ideal bel canto exponent, and this Lucia captures the best of her artistry in the last act, especially the mad scene. Here her sharp articulation has few rivals, and the lachrymose quality of her voice suits the scene. The excitement generated by her expert maneuvering in the challenging runs has a gladiatorial aspect, heightened by an awareness that Gruberova is singing this role, and this well, at an age when many a soprano has retired. She can pump her fists, metaphorically speaking, at scene’s end — she is still champion.
However….act one leaves something to be desired. Gruberova’s Lucia early in the set sounds on the edge of a nervous breakdown already, and the air of desperation created by a tendency to slight intonation droops makes one wonder why her Edgardo is attracted to this frail Lucia. Not until the sextet does Gruberova start to hit her stride.
Jose Bros sings Edgardo. Your reviewer heard him live in the role two seasons ago in Los Angeles, opposite Anna Netrebko. He sang well that night until the tenor’s big scene at the climax, where a tentative approach led to a sad crack on a high note. Here, under studio conditions, he manages the scene with confidence. However, his voice is more pleasing live than on record, where a lack of tonal variety becomes more apparent. Unlike Gruberova, he is at his strongest earlier in the set.
Georg Tichy snarls a bit too much as Enrico; otherwise he sings acceptably. Friedrich Haider’s leads the Baden Baden forces in an energetic, propulsive performance.
Realistically, nothing about this CD set rivals the best of the many, many other Lucia sets available. The big qualifier, obviously, would be for the most ardent fans of Miss Gruberova, of whom there are many. For them, the Nightingale recording will be an obvious self-recommendation.
Los Angeles Unified School District, Secondary Literacy