Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Recordings

A Splendid Italian Spoken-Dialogue Opera: De Giosa’s Don Checco

Never heard of Nicola De Giosa (1819-85), a composer who was born in Bari (a town on the Adriatic, near the heel of Italy), but who spent most of his career in Naples? Me, neither!

Winterreise by Mark Padmore

Schubert's Winterreise is almost certainly the most performed Lieder cycle in the repertoire. Thousands of performances and hundreds of recordings ! But Mark Padmore and Kristian Bezuidenhout's recording for Harmonia Mundi is proof of concept that the better the music the more it lends itself to re-discovery and endless revelation.

The Epic of Gilgamesh - Bohuslav Martinů

New recording of the English version of Bohuslav Martinů's The Epic of Gilgamesh, from Supraphon, the Czech Philharmonic Orchestra conducted by Manfred Honeck. This is the world premiere recording of the text in English, the original language in which it was written.

Maybe the Best L’heure espagnole Yet

The new recording, from Munich, has features in common with one from Stuttgart that I greatly enjoyed and reviewed here: the singers are all native French-speakers, the orchestra is associated with a German radio channel, we are hearing an actual performance (or in this case an edited version from several performances, in April 2016), and the recording is released by the orchestra itself or its institutional parent.

Stéphanie d’Oustrac in Two Exotic Masterpieces by Maurice Ravel

The two works on this CD make an apt and welcome pair. First we have Ravel’s sumptuous three-song cycle about the mysteries of love and fantasies of exotic lands. Then we have his one-act opera that takes place in a land that, to French people at the time, was beckoningly exotic, and whose title might be freely translated “The Nutty and Delightful Things That Can Happen in Spain in Just One Hour”.

Stefano Secco: Crescendo

I had never heard of Stefano Secco before receiving this CD. But I see that, at age 34, he already has had a substantial career, singing major roles at important houses throughout Europe and, while I was not paying attention, occasionally in the US.

French orientalism : songs and arias, Sabine Devieilhe

Mirages : visions of the exotic East, a selection of French opera arias and songs from Sabine Devieilhe, with Alexandre Tharaud and Les Siècles conducted by François-Xavier Roth, new from Erato

Hans Werner Henze Choral Music

Hans Werner Henze works for mixed voice and chamber orchestra with SWR Vokalensemble and Ensemble Modern, conducted by Marcus Creed. Welcome new recordings of important pieces like Lieder von einer Insel (1964), Orpheus Behind the Wire (1984) plus Fünf Madrigale (1947).

Bettina Smith, Norwegian Mezzo, in Songs by Fauré and Debussy

Here are five complete song sets by two of the greatest masters of French song. The performers are highly competent. I should have known, given the rave reviews that their 2015 recording of modern Norwegian songs received.

Étienne-Nicolas Méhul: Uthal

The opera world barely knows how to handle works that have significant amounts of spoken dialogue. Conductors and stage directors will often trim the dialogue to a bare minimum (Magic Flute), have it rendered as sung recitative (Carmen), or have it spoken in the vernacular though the sung numbers may often be performed in the original language (Die Fledermaus).

A New Anna Moffo?: The Debut Disc of Aida Garifullina

Here is the latest CD from a major label promoting a major new soprano. Aida Garifullina is utterly remarkable: a lyric soprano who also can handle coloratura with ease. Her tone has a constant shimmer, with a touch of quick, narrow vibrato even on short notes.

Il sogno di Scipione: a new recording from Classical Opera

With this recording of Mozart’s 1771 opera, Il sogno di Scipione (Sicpio’s Dream), Classical Opera continue their progress through the adolescent composer’s precocious achievements and take another step towards the fulfilment of their complete Mozart opera series for Signum Classics.

Mozart’s Requiem: Pierre-Henri Dutron Edition

The stories surrounding Mozart’s Requiem are well-known. Dominated by the work in the final days of his life, Mozart claimed that he composed the Requiem for himself (Landon, 153), rather than for the wealthy Count Walsegg’s wife, the man who had commissioned it in July 1791.

Schumann and Mahler Lieder : Florian Boesch

Schumann and Mahler Lieder with Florian Boesch and Malcolm Martineau, now out from Linn Records, following their recent Schubert Winterreise on Hyperion. From Boesch and Martineau, excellence is the norm. But their Mahler Lieder eines fahrenden Gesellen takes excellence to even greater levels

Hans Werner Henze : Kammermusik 1958

"....In lieblicher Bläue". Landmark new recordings of Hans Werner Henze Neue Volkslieder und Hirtengesänge and Kammermusik 1958 from the Scharoun Ensemble Berlin, with Andrew Staples, Markus Weidmann, Jürgen Ruck and Daniel Harding.

Elder conducts Lohengrin

There have been dozens of capable, and more than capable, recordings of Lohengrin. Among the most-often praised are the Sawallisch/Bayreuth (1962), Kempe (1963), Solti (1985), and Abbado (1991). Recording a major Wagner opera involves heavy costs that a record company may be unable to recoup.

Premiere Recording: Mayr’s Telemaco nell’isola di Calipso (1797)

No sooner had I drafted my review of Simon Mayr’s Medea in Corinto,

A Verlaine Songbook

Back in the LP days, if a singer wanted to show some sophistication, s/he sometimes put out an album of songs by famous composers set to the poems of one poet: for example, Phyllis Curtin’s much-admired 1964 disc of Debussy and Fauré songs to poems by Verlaine, with pianist Ryan Edwards (available now as a CD from VAI).

Giovanni Simone Mayr: Medea in Corinto

The Bavarian-born Johann Simon Mayr (1763–1845) trained and made his career in Italy and thus ended up calling himself Giovanni Simone Mayr, or simply G. S. Mayr. He is best known for having been composition teacher to Giuseppe Donizetti.

Matthias Goerne: Bach Cantatas for Bass

In this new release for Harmonia Mundi, German baritone Matthias Goerne presents us with two gems of Bach’s cantata repertoire, with the texts of both BWV 56 and 82 exploring one’s sense of hope in death.  Goerne adeptly interprets the paradoxical combination of hope and despair that underpins these works, deploying a graceful lyricism alongside a richer, darker bass register.

OPERA TODAY ARCHIVES »

Recordings

Witold Lutosławski: Twenty Polish Christmas Carols; Lacrimosa; Five Songs
22 Dec 2005

LUTOSLAWSKI: Twenty Polish Christmas Carols

Witold Lutosławski (1913-94) composed vocal works throughout his career, and recording collects several pieces that involve female voices. His set of Twenty Polish Christmas Carols for soprano, women’s choir and orchestra is a late composition compiled between 1985 and 1989 and given its premiere in 1990.

Witold Lutosławski: Twenty Polish Christmas Carols; Lacrimosa; Five Songs

Olga Pasichnyk, soprano; Jadwiga Rappé, alto; Polish Radio Chorus, Kraców; Polish National Radio Symphony Orchestra (Katowice); Antoni Wit (cond.)

Naxos CD 8.555994 [CD]

 

It is based on the collection of twenty Christmas carols for voice and piano that Lutosławski arranged in 1946, a time when the politics dictated that the arts create works like this for the people. Only someone as steeped in Polish culture as Lutosławski could approach arrangements of these carols with the aplomb that they deserve and, at the same time, introduce elements that do not make them caricatures. The collection is as reminiscent of some of the folksong settings of Ralph Vaughan Williams, and the appeal of the music resides in the masterful settings that he gave each piece.

While some of the melodies may be familiar, others are more insular in nature. The carol entitled “Hurrying to Bethlehem” The delicate timbres and floating harmonies of “Lullaby, Jesus” is one of the outstanding selections on this recording. Likewise angular melody of “This is our Lord’s birthday” evokes a Slavic idiom that hints at the kind of choral number a composer like Prokofiev have used in one of his cantatas, while Lutosławski’s orchestration suggests Shostakovich’s style. The wind colors used in “Shepherds, can you tell?” is engaging, especially when they occur with the interplay between solo voice and choral writing. The arrangements by Lutosławski make some wonderful Polish carols available to a broader audience.

This masterful combination of the familiar with a modern touch makes the collection attractive not only as a recording, but also for performances during the Christmas season. The performance preserved on this recording is taken from concerts given on 5 December 2001. In fact, the other pieces on the CD were part of another concert, which was given on 15 January 1997) and include Lutsławski’s Lacrimosa for soprano, choir, and orchestra, as well as his Five Songs for female voice the 30 solo instruments.

The Lacrimosa is one of two settings from the Requiem completed in 1937 by Lutosławski, and as a fragment it offers a glimpse at the composer early in his career. The melody given to the soprano is reminiscent of some of the music Ginastera used in his Bachianas Brasilieras. The overt simplicity that Lutosławski uses in this piece is part of its attraction. As much as it is unmistakably modern, the Lacrimosa is also engaging in its clear presentation of the text, and masterful use of solo voice in contrast to choral passages, all of which are supported by a carefully composed accompaniment. It is unfortunate that the other setting from the Requiem was destroyed and that Lutosławski did not pursue the setting of the entire piece. Those unfamiliar with the work will find this performance to be extremely effective.

Another work that deserves further attention is the set of Five Songs to texts by the contemporary poet Kazmimiera Iłłakowicz (1892-1983). The only nominally secular pieces on this CD, the Five Songs are essentially revisions of children’s verses that have a modern slant, and Lutosławski’s music accentuates that aspect of the texts. Composed in 1957, the Five Songs are a product of a time when Lutosławski benefited from the cultural openness that occurred after Stalin’s regime ended. As with the other pieces collected in this recording, the performance is convincing and conveys the spirit of the music well.

This and the other pieces are performed by the Polish Radio Chorus, Kraców, and the Polish National Radio Symphony Orchestra (Katowice) conducted by Anoni Wit. The soprano for the set of Twenty Polish Christmas Carols and the Lacrimosa is Olga Pasichnyk, with the alto Jadwiga Rappé serving as soloist for the Five Songs. The diction is clear and serves the texts well, but it is unfortunate that the texts and translations are not provided with the recording. With the exception of Lutosławski’s Five Songs, the texts are available at the Naxos website (www.naxos.com/libretti/20carols.htm), the publication of the materials with the CD makes a difference. At the same time it would also be useful at least to have the titles of the pieces and their components in the original language and also in translation. Nevertheless, this recording makes available some fine music and in turn, it shows yet another side of one of the most important Polish composers of the twentieth century.

James L. Zychowicz
Madison, Wisconsin

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):