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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.
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.
29 Dec 2005
Mario Del Monaco at the Bolshoi
Myto has the good sense to call a spade a spade. This is an issue exclusively meant for the Del Monaco-crowd and not for people wanting a Carmen or a Pagliacci. The set has one enormous quality: a brilliant natural sound that hides nothing and doesn’t change the balance of the voices.
More than official Decca sets, where voices often were somewhat equalized, it shows the power of the tenor’s voice which often overwhelms most of the others on the scene. Pavel Lisitsian, who is a bit of a cult figure among Western collectors as he was so rarely allowed to leave the Soviet Union — one Met-performance in an untypical Amonasro-role — shows a fine though very idiosyncratically coloured voice; but it is clear from this recording that the voice is less powerful than on records. And one notes too that though the top is brilliant there are almost no low notes and his voice is simply not at ease in this role which better suits a bass-baritone. Irina Maslennikova as Micaëla has a rather small shrill lower middle voice and is dwarfed by Del Monaco but gets stronger the higher she sings. The only person on the scene who could give Del Monaco tit for tat is the formidable Irina Archipova, though as a result she sometimes forces the voice and becomes rather vulgar.
By 1960 decades of isolation resulted in Soviet singers more and more going for noise than for musicality. Lemeshev, Kozlovsky, Obukova all studied before the war; often with teachers who themselves had lived through extensive contacts in the West. By the time Archipova studied most of those teachers were deceased and almost no Western records were available. An exception to that rule were the movies by Mario Lanza and Mario Del Monaco, as Soviet censure considered them to be completely harmless. And a lot of Soviet singers took their clues from these examples.
And it was not the La Scala visit of 1964 with Carlo Bergonzi that changed Russian perception on Western singing. After all only members of the party’s nomenclatura got tickets for those much heralded performances; but ordinary Russians didn’t go crazy for Bergonzi, as he was just another tenor and not a star like Mario Del Monaco who had played the title role in Italy’s answer to Lanza’s The Great Caruso (in reality he only lent his voice) and in those popular movies on Verdi , Mascagni and that German pot boiler “Schlussakkord”. Therefore the coming of Del Monaco to Moscow was a major event in 1959 and the tenor met all expectations as he gave them what they thought was the one essential element of tenor singing: strong top notes, kept on as long as possible.
Del Monaco must have felt he was returning to his early days. At that time every high note in the Italian province theatre was still roundly applauded, if necessary in the middle of an aria or a duet and the Muscovites can easily compete with many an Italian theatre. As a result Del Monaco, who even at his best behaviour was always milking for applause, feels no restraint at all. There is of course no denying the richness of the sound, the formidable beauty when he remembers to sing like he did in some of his best moments with strong conductors. But time and again the coarseness takes over and he often uses an ugly glottal stop. In the second act he really has a field day, changing from Italian to French and vice versa whatever part of the role he remembers best in one of these languages. And that fine conductor Melik Pashaev has the great honour to accompany the tenor and keep the orchestra in check so that it patiently waits for the moment Del Monaco has finished his note and it can proceed further. Anyway, the Russians at the time were wildly happy as proven by the well-known video-recording of this performance (2nd and 4th act only).
The Pagliacci of a week later is stylistically better as he can sing in his own language in a role that will accept some sobs. And sob he does whenever he has the opportunity. And once again he is above all showing off his volume and his top notes. “Vesti la giubba” starts off really well, showing the intrinsic beauty of the voice in his last year of grace as all real Del Monacistis will agree with. But then, just after his “Ridi Pagliaccio” he breaks the line in “sul tua amore infranto” by taking a deep breath between “amore” and “infranto” just to score an extra-decibel on that last word. His “No, Pagliaccio non son” starts well and even a little bit restrained; but in the middle section of “Sperai, tanto il delirio” he simply reverts to shouting. The end of the opera is well worth hearing. Del Monaco has decided to improve the score and correct Leoncavallo’s forgetfulness. After “La commedia è finite” his shouts of Nedda followed by magnificent sobs repeated for half a minute probably led to her resurrection. This time Leocadia (and not Irina) Maslennikova has the honour of assisting the tenor and she has a metallic strong voice. The Tonio, Alex Ivanov, was probably a KGB-informer as I see no other reason why he got this role. He is wretchedly bad, more speaking in a dry tone, than singing.
The bonus is spread over two CD’s and is a recital Del Monaco recorded for Melodia on a ten-inch record. The arias from Otello, Tosca and Pagliacci are fine though he has sung them better for Decca; especially the Pagliacci-prologue but I’m sure Del Monaco-lovers will definitely enjoy the Moscow-version with a big “hahahaha” in the middle of the aria. And I’m surprised that Myto, always looking for the best sound possible, couldn’t find a better copy of that record as there is a giant tick in the middle of the recording that makes you sit up.