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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.
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.
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.
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