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

Pan-European Orpheus : Julian Prégardien

"Orpheus I am!" - An unusual but very well chosen collection of songs, arias and madrigals from the 17th century, featuring Julian Prégardien and Teatro del mondo. Devised by Andreas Küppers, this collection crosses boundaries demonstrating how Italian, German, French and English contemporaries responded to the legend of Orpheus and Eurydice.

Laci Boldemann’s Opera Black Is White, Said the Emperor

We normally think of operas as being serious or comical. But a number of operas-some familiar, others forgotten-are neither of these. Instead, they are fantastical, dealing with such things as the fairy world and sorcerers, or with the world of dreams.

The Devil, Greed, War, and Simple Goodness: Ostrčil’s Jack’s Kingdom

Here is a little-known opera that, like an opera by the Swedish composer Laci Boldemann that I have reviewed here, and like Ravel’s amazing L’enfant et les sortilèges, utterly bypasses the usual categories of comic and grand/tragic by cultivating instead the rich realm of fantasy and folk tale.

Grands motets de Lalande

Majesté, a new recording by Le Poème Harmonique, led by Vincent Dumestre, of music by Michel-Richard de Lalande (1657-1726) new from Alpha Classics. Le Poème Harmonique are regular visitors to London, appreciated for the variety of their programes. On Friday this week, (11/5) they'll be at St John's Smith Square as part of the London Festival of Baroque, with a programme titled "At the World's Courts".

Perpetual Night - Early English Baroque, Ensemble Correspondances

New from Harmonia Mundi, Perpetual Night. a superb recording of ayres and songs from the 17th century, by Ensemble Correspondances with Sébastien Daucé and Lucile Richardot. Ensemble Correspondances are among the foremost exponents of the music of Versailles and the French royalty, so it's good to hear them turn to the music of the Stuart court.

Maria Callas: Tosca 1964: A film by Holger Preusse

When I reviewed Tosca at Covent Garden in January this year for Opera Today, Maria Callas’s 1964 Royal Opera House performance was still fresh in my mind. This is a recording I have grown up with and which, despite its flaws, is one of the greatest operatic statements - a glorious production which Zeffirelli finally agreed to staging, etched in gothic black and white film (albeit just Act II), with Maria Callas and Tito Gobbi, if not always as vocally commanding as they once were, acting out their roles like no one has before, or since.

Hubert Parry and the birth of English Song

British music would not be where it is today without the influence of Charles Hubert Parry. His large choral and orchestral works are well known, and his Jerusalem is almost the national anthem. But in the centenary of his death, we can re-appraise his role in the birth of modern British song.

Camille Saint-Saens: Mélodies avec orchestra

Saint-Saëns Mélodies avec orchestra with Yann Beuron and Tassis Christoyannis with the Orchestra della Svizzera Italiana conducted by Markus Poschner.

Les Funérailles Royales de Louis XIV recreated at Versailles

Les Funérailles Royales de Louis XIV, with Ensemble Pygmalion, conducted by Raphaël Pichon now on DVD/Blu -ray from Harmonia Mundi. This captures the historic performance at the Chapelle Royale de Versailles in November 2015, on the 300th anniversary of the King's death.

Tenebræ Responsories
recording by Stile Antico

Tomas Luis de Victoria’s Tenebrae Responsories are designed to occupy the final three days of Holy Week, and contemplate the themes of loss, betrayal and death that dominate the Easter week. As such, the Responsories demand a sense of darkness, reflection and depth that this new recording by Stile Antico - at least partially - captures.

Mahler Symphony no 9, Daniel Harding SRSO

Mahler Symphony no 9 in D major, with Daniel Harding conducting the Swedish Radio Symphony Orchestra, new from Harmonia Mundi. A rewarding performance on many levels, not least because it's thoughtfully sculpted, connecting structure to meaning.

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.

OPERA TODAY ARCHIVES »

Recordings

Igor Stravinsky: The Rite of Spring (Le sacre du printemps); The Nightingale (Le rossignol)
11 Dec 2005

STRAVINSKY: The Rite of Spring; The Nightingale

So much has been written about the notorious scandal of May 29, 1913, the scandal of the reception of the premiere of Igor Stravinsky’s ballet Le Sacre du Printemps, that it is easy to forget that the music itself was less the cause of the riotous activities than the subject, the décor, and the dancing.

Igor Stravinsky: The Rite of Spring (Le sacre du printemps); The Nightingale (Le rossignol)

Olga Trifonova, Robert Tear, Pippa Longworth, Paul Whelan, Stephen Richardson, Andrew Greenan, Sally Burgess, Peter Hall, Simon Preece, London Voices, Philharmonia Orchestra, Robert Craft (cond.)

Naxos 8.557501 [CD]

$5.99  Click to buy

Due in part to the commotion caused by the work’s premiere and its subsequent performances in the following weeks, but more because of wartime privations affecting musical performances all over Europe, it was not until the 1920s that audiences began to hear and appreciate the score of The Rite in concert form. Its subsequent rapid ascent to “classic” status is now a fact of history, and the number of respectable recorded performances available are well into the double digits.

Naxos’ project of releasing CDs of all of Stravinsky’s works, conducted by Robert Craft, is a huge and noble one, and the present disc represents a significant addition to the recorded Stravinsky legacy. This particular Rite was released by Koch International Classics in 1995; the overall sound and balance of the new release reflect the complex score superbly. The playing of the London Symphony comes as close to perfection as one could ever expect in bringing this score accurately and vibrantly to life, no small complement given the strength and size of the recorded competition. The players and the engineers deserve particular credit for allowing listeners to hear inner voices and subtle rhythmic and sonority features often absent from other recordings. This manifests itself both in the quieter pages of the score, (e.g., the “Introduction” of Part One) as well as in the heavier passages (e.g., the “Procession of the Sage,” also in Part One).

Despite such important and deserved kudos, the performance here does not exude the frenzy and daring excitement that one hears in such recordings as the one by the Kirov Orchestra under Valery Gergiev for Philips. If perfection in realization of the composer’s notated intentions is the purchaser’s goal, one can arguably do no better than this recording, particularly in view of Craft’s capabilities and vast experience with the composer personally as well as with his works. However, someone preferring a bit more risk-taking by performers and conductor might not find this performance quite up to par.

The remainder of this disc is given over to a 1997 MusicMasters recording of Stravinsky’s one-act opera, The Nightingale. Stravinsky actually began composing this sonically gorgeous work in 1908, not finishing it until after the premiere of The Rite, when a performance opportunity presented by Diaghilev and his stage director Alexander Sanin provided the composer with the necessary impetus. Paris was again the site of the premiere, on May 26, 1914, almost exactly a year after the premier of The Rite. Less than an hour in length, The Nightingale shared double-billing with Rimsky-Korsakov’s Le coq d’or in its initial presentations.

While fully two-thirds of the opera was completed after Stravinsky composed The Rite, the musical language is much closer to that of Firebird, with more than a few pages bringing the sounds of Debussy to mind as well. The experience of scoring both Petrushka and The Rite had developed Stravinsky’s orchestral pallet significantly, however, with the result that the latter parts of this work have some of the richest and most imaginative sonorities to be find anywhere in the composer’s output. Certainly, this can be credited in part to the setting (in China) of the Hans Christian Andersen fairytale as well as to the fantastic nature of the story and the role of the nightingale as a central character.

The Philharmonia Orchestra serves both composer and conductor well in this performance. The technical difficulties of the score are handled with aplomb, and the oriental atmosphere is created with sensitivity and a lightness of touch that are perfectly suited to the nature of the story. Both the “real” and the mechanical nightingale in the story fairly leap from the disc with a brilliant realism. The orchestra bears much responsibility for this sonorous beauty, of course, but the singers are equally up to their tasks. The highly demanding role of the Nightingale is virtually tossed off by Olga Trifonova, whose thrilling voice amazes with its agility and range. Likewise, Robert Tear brings his usual lyricism and focused sound to the important role of the Fisherman. Pippa Longworth as the Cook, Paul Whelan as the Emperor, and Sally Burgess as Death stand out among other vocalists, as do the London Voices under Terry Edwards’ guidance.

This is a performance that has been prepared with considerable care and understanding. The Nightingale deserves wider exposure, both for its own virtues and because of what it displays about Stravinsky’s developing style and technique. This valuable (and inexpensive!) recording should go far in increasing that exposure.

Roy J. Guenther
Professor of Music
The George Washington University

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):