Recently in Recordings
In May 2016, Opera Rara gave Bellini aficionados a treat when they gave a concert performance of Vincenzo Bellini’s first opera, Adelson e Salvini, at the Barbican Hall. The preceding week had been spent in the BBC’s Maida Vale Studios, and this recording, released last month, is a very welcome addition to Opera Rara’s bel canto catalogue.
Jonas Kaufmann Mahler Das Lied von der Erde is utterly unique but also works surprisingly well as a musical experience. This won't appeal to superficial listeners, but will reward those who take Mahler seriously enough to value the challenge of new perspectives.
A new recording, made late last year, Morfydd Owen : Portrait of a Lost Icon, from Tŷ Cerdd, specialists in Welsh music, reveals Owen as one of the more distinctive voices in British music of her era : a grand claim but not without foundation. To this day, Owen's tally of prizes awarded by the Royal Academy of Music remains unrivalled.
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.
12 Dec 2005
GAY: The Beggar’s Opera
Benjamin Britten’s identity as a decidedly “national” composer is formed in part by his well-known engagement of pre-existent English music, old English texts, and subjects rich in the English legacy, as a glance at works like the Purcellian The Young Person’s Guide to the Orchestra, the Chester mystery play, Noyes Fludde, or the Elizabethan opera, Gloriana, all confirm.
Thus, there is little surprise in his taking on a modern realization of John Gay’s The Beggar’s Opera, an undertaking that, as Philip Brett observed, “signifies the culmination of a process of self-conscious rapprochement with history and national identity, part of what Britten thought necessary, as a newly connected and ‘located’ artist, to fulfill his role.” Certainly The Beggar’s Opera claims a special place in the English musical legacy. First performed at Lincoln’s Inn Fields in January, 1728, its satirical volley aimed at Walpole’s administration, the aristocracy, and the Italian opera struck a responsive chord in London audiences—audiences that could have seen it performed an impressive sixty-two times during its first year alone! And London audiences would find it performed annually throughout the remainder of the eighteenth century. The best-known “ballad opera,” The Beggar’s Opera combines spoken dialogue and popular tunes drawn from English ballads, Irish, Scottish, and French airs, and melodies from composers like Purcell, Handel, and Bononcini, all intertwined in a tale of “low life.”
The musical content was originally skeletal—melodies with bass lines devised by Johann Pepusch. Britten’s realization gives the tunes a content-rich accompaniment, employing harmonies, effects, and inflections far-removed from the eighteenth century. Pepusch is left behind here, and what emerges is not a dressed-up neo-classicism—Pepusch with modern spice—but rather a fresh re-imaging of the melodies’ harmonic and dramatic propensities.
Britten created his Beggar’s Opera for performances by the English Opera Group in 1948, the year after its founding by Britten, the artist, John Piper, and librettist-director, Eric Crozier. This present CD offers a digitalized recording made from acetates of the 1948 production. Peter Pears takes the role of Captain Macheath, and it is wonderful to savor his voice in moments of lightness and ease, as in the second act air, “The first time at the looking-glass.” But by and large, the biggest presence on the recording seems to be Britten himself. The radical transformation of the airs through such highly inflected accompaniment transforms the nature of the work itself. In part this has to do with the manner of performance. The amount of “information” in the orchestra goes hand-in-hand with a necessary slowing of the airs, and as a result, one misses their often-times lilting quality. But additionally, the sophistication of the accompaniments and their amount of information transforms the aesthetic from one of engaging popular simplicity to a more complex, multi-layered affair, seemingly rich with meaning and inflection. In short, the eighteenth-century ballad opera has here taken on the language of opera, that which it had originally lampooned.
If one’s interest lies in The Beggar’s Opera itself, the Britten 1948 version will be of only tangential interest, I suspect. But, if one’s interest lies in Britten and his ability to transform and create within the constraints of pre-existent material, this is a rich sample, indeed, and a valuable historical artifact of English musical life in the early years after World War II.