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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.
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.
27 Dec 2005
Franz Schubert’s song cycle Winterreise has been performed by many fine singers, who keep the work alive in the repertoire and in the imagination of audiences. In recent years the work has been subject to a variety of interpretations, and with this recording, the well-known tenor René Kollo offers his perspective on the work, accompanied by the young pianist Oliver Pohl.
Those familiar with René Kollo’s work might associate him more with opera, but he has recorded other kinds of works as well. This release is Schubert’s Winterreise is a recent effort that was created for and released by Oehms in 2004. Kollo recorded it between 17 and 19 February. His statement about the performance is included in the booklet that accompanies the CD, and in it he calls attention to his perspective of the music. As he states,
With my interpretation of Winterreise, I hope to present listeners with a new view of Schubert’s Lied cycle. For me, Winterreise is not primarily a story of farewell and the longing for death. I see it much more as the wrathful flight of a man, who – beset by the realities of class differences – must leave the one he loves. He fails in the face of social tensions; the rich girl is unattainable for him. . . . At the end, I sing of a beginning – not of a standstill. In the person of the hurdy-gurdy grinder, the search finds one who has certainly traveled a similarly fateful path. He now sings his songs with him. The mood is lighter and tends slightly towards optimism. . . .
Yet in concluding his remarks, Kollo acknowledges that the CD is expressly intended as a fund-raiser for the Deutsche Kinderhilfe Direkt (the German Direct Children’s Aid Association). The purpose is stated on the cover of the CD, and the first thing that one finds inside is the statement by Georg Ehrmann that the purchase of the recording is intended to benefit German Children’s Aid, with the address, contact information and even Konto codes for further donations. As a means of calling attention to a cause, this is certainly a unique involvement of the arts, which are often concerned with raising money for their own purposes.
Notwithstanding the reasons for the recording, it merits attention for the mature and well-thought perspective that Kollo brings to a familiar work. This is a sound approach to the work that the performers have borne out well in this recording. As a studio recording, the performance is lacks hall noise and other distractions that sometimes occur, even in the best of circumstances. Yet the sound levels are sometimes extremely close to the voice, thus missing the ambiance that comes from having some distance between the performances and the microphones. The kind of resonance that has been preserved in some other recordings of Schubert’s Lieder is not easy to find on this CD, and it is sometimes difficult to hear the accompaniment blend with the voice.
As to the accompaniment, the performance on this recording suggests that Oliver Pohl has much to offer in the area of Lieder. The nuances that Pohl brings into the fourth song, “Erstarrung,” the one which Kollo holds to be the turning point in the cycle, is effective. This stands in contrast to the sometimes relentless execution he gives to the first three songs, the ones that Kollo states depict the angry flight [zornige Flucht] of the protagonist. The lighter tone that the performers introduce after the first songs culminates in an exceptionally thoughtful conclusion, with the final song “Der Leiermann” fading away in a manner that fully contrasts the opening pieces. Pohl is responsible for this convincing dénouement, and he has clearly worked out the interpretation with Kollo. Overall Pohl supports Kollo solidly, matching the tenor’s intensity with similarly strong playing, which is evident in the exposed passages for piano, like the one in the center of “Der Lindenbaum.”
The liner notes for the CD include the full text of the song cycle, but without any translations. With a familiar work like this, the lack of a translation is not a problem, but it points, perhaps, to the intended audience of the CD in Germany or, at least, in German-speaking countries. In fact, the note by Pohl appended to his biography reinforces the intention of the performers’ support of the Deutsche Kinderhilfe Direkt, and this leads into Kollo’s statement about the interpretation of the cycle.
All in all, this recording has much to recommend, not the least of which is the overtly divergent approach that Kollo offers. In a mature, polished singer conveys his well-considered approach to familiar music. Enthusiasts of Lieder and specifically Schubert’s music may find this recording of interest. At the same time, those familiar with Kollo as an opera singer may want to hear him in the context of this fine recording of Schubert’s Winterreise.
James L. Zychowicz