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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.
Alfredo Kraus, one of the most astute artists in operatic history in terms of careful management of technique and vocal resources, once said in an interview that ‘you have to make a choice when you start to sing and decide whether you want to service the music, and be at the top of your art, or if you want to be a very popular tenor.’
In generations past, an important singer’s first recording of Italian arias would almost invariably have included the music of Verdi.
With celebrations of the Verdi Bicentennial in full swing, there have been
many grumblings about the precarious state of Verdi singing in the world’s
major opera houses today.
In the thirty-five years immediately following its American première at the Metropolitan Opera in 1914, Italo Montemezzi’s ‘Tragic Poem in Three Acts’ L’amore dei tre re was performed in New York on sixty-six occasions.
Few operas inspire the kind of competing affection and controversy that have surrounded Mozart’s Così fan tutte almost since its first performance in Vienna in 1790.
During his career in film, opera, and operetta, Richard Tauber (1891 - 1948) enjoyed the sort of global fame that eludes all but the tiniest handful of ‘serious’ singers today.
Known principally for its two concert show-pieces for the leading lady, the success of Francesco Cilea’s Adriana Lecouvreur relies upon finding a soprano willing to take on, and able to pull off, the eponymous role.
11 Dec 2005
The Art of Gérard Souzay
If anyone had played the soundtrack of those first numbers of the 1955 telecast, I would have looked up in surprise at first and would have wondered if an electronic wizard had cleaned up the acoustic recordings of that giant of French singing: Jean-Emile Vanni-Marcoux.
This was that kind of singing at its very best: each syllable and of course each word perfectly enunciated while not once chopping up the line and keeping perfect legato; a noble and warm timbre with a fresh, round and very attractive small vibrato. Then doubt would have set in as the voice was somewhat higher-lying with an even more homogenous sound than Vanni-Marcoux had. In short this was Gérard Souzay at the height of his powers; a legendary baritone whom nobody French nowadays even approaches. Maybe José van Dam during the seventies, early eighties came somewhat near though the very impressive voice of the Walloon never had that utter beauty. And Souzay didn’t solely rely on his sound but employed it to tell a story with all its shades and corners in the two mélodies and the one opera aria that was broadcast in 1955. The kinescope picture is black and white and clear but with this kind of singing one would have even accepted murkiness.
Eleven years later Souzay once more appeared on Québec Television with a far longer programme. Though still in black and white television had taken some strides and such a thing as a simple registration from a lieder and melodies-recital wasn’t good enough anymore: imagine that some viewers “watching the show” would be bored so a director made it somewhat jollier. Thus Souzay recorded several opera arias and then acted them on camera in costume and with the aid of a few sets while his dubbed sound ran on. And those scenes were inserted between a recital of well-known mélodies so that a little action was served. At the end of the recital the director even had some more clever ideas. A traditional song was illustrated with arty photographs that had no whatsoever relationship with the text of the song Souzay sang. To my delight I even saw a picture of a boy reading “L’Etoile Mystérieuse”, an adventure of comic hero Tintin produced during the war, all anti-Semitic illustrations carefully deleted in the album the boy had in his hands. Meanwhile Souzay was enumerating all kinds of birds in May. And why the great singer consented to have his voice used as an echo during the famous “Baïlero” is anyone’s guess.
Anyway one can grumble as much as one wants but it’s not as if VAI had a choice and one can only be grateful for this issue which may well be commercially less rewarding than another tenor disc.
In the second part of the DVD the singer was eleven years older and was now slowly on the way back. The voice is still beautiful but the 48 year old baritone had been on the scene for more than 20 years and some of the velvet had gone. The top still rings free and clear but in the lower register there is some huskiness. The timbre is less warm because the vibrato has somewhat gone out of the voice. These beautiful overtones, typically for the sheen on all youthful voices, have now gone. The pianissimo is still beautiful but the honeyed sound is less remarkable. This is still a magnificent voice and what artistry but he cannot completely compete with his unique younger self. Of course he has lost nothing from his interpretative powers. His diction remains impeccable and one listens in awe to the opera arias where there are far more competitors. Such beautiful French and such fine legato and one doesn’t think for one second of French as a nasal and difficult language; a complaint one always get from less talented singers. His German is fine too and for this reviewer he is even helped by the fact he is not a native speaker so that he doesn’t fall in the trap of Dieskau- or Schwarzkopf-mannerisms. It is good to see his legendary accompanist Dalton Baldwin too, who, as always, makes a perfect team with the baritone. In short, this DVD is a must.