Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.







Recently in Recordings

Félicien David: Songs for voice and piano

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” with herself!).

John Taverner: Missa Corona spinea

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.

“Nessun Dorma — The Puccini Album”

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.

Honegger: Jeanne d’Arc au bûcher

Marion Cotillard and Marc Soustrot bring the drama to the sweeping score of Arthur Honegger’s Jeanne dArc au bûcher, an adaptation of the Trial of Joan of Arc

Far in the Heavens — Choral Music of Stephen Paulus

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.

Review: You Promised Me Everything

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’.

Donizetti: Les Martyrs

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.

Green: Mélodies françaises sur des poèmes de Verlaine

Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and twentieth-century France

A worthy tribute for a vocal seductress of the ancient régime

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.

Schubert’s Winterreise by Matthias Goerne

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.

Gluck: Orfeo ed Euridice

This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.

Die Entführung aus dem Serail @ Hangar-7

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: Notturno

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 Sings Mahler Lieder

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.

Gergiev’s Das Rheingold

Das Rheingold launches what is perhaps the single most ambitious project in opera, Richard Wagner’s Der Ring des Nibelungen

Hänsel und Gretel

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.

Magdalena Kožená: Love and Longing

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 Magdalena Kožená.

Once I was: Songs by Ricky Ian Gordon

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.

Amore e Tormento

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.’ 

Rivals—Arias for Farinelli & Co.

In generations past, an important singer’s first recording of Italian arias would almost invariably have included the music of Verdi. 



The legendary Magda Olivero
18 Dec 2005

The legendary Magda Olivero

What is the difference between a lady who becomes a prima-donna and a prima-donna who becomes a lady? The last one has to be begged as she thinks she has to behave according to her rank. The first one is sure of herself and doesn’t need, well let’s call it to behave somewhat capriciously.

The legendary Magda Olivero

Magda Olivero, soprano

IDIS 6474 [CD]

€ 12.00  Click to buy

OK, let’s call a spade a spade. Some 15 years ago I produced a TV-show for Flanders and the Netherlands on the decline of Italian singing and I asked a mutual friend who knew Tebaldi and Olivero very well to ask for their cooperation. Both ladies agreed to receive me a few weeks before shooting would start but my friend warned me that making an exact appointment would be difficult as Tebaldi was not one to be pinpointed on a date. So I started calling the great prima-donna and of course got her assistant Tina who kindly asked me to phone back tomorrow, the day after tomorrow, next week etc. till La Signora had made up her mind. At last we agreed I should come to Italy and try from there and Tina was sure La Signora would receive me.

So I went because by that time I was sure this would not be a journey for nothing as I had also placed a call to La Olivero. I had stated my business to her assistant and within a minute Olivero herself took the call, looked at her agenda and gave me a date and an hour at her apartment. On the exact date and hour I arrived and she herself opened the door. She offered a drink and as she was a little (really only a little) shaky I wanted to pour out myself a cup of tea. I’ll never forget Olivero charmingly taking my hand and friendly but firmly saying: “So sorry but it is my duty and honour to serve you!” Of course she always was a member of the rich bourgeoisie. (Yes, I finally succeeded in meeting Tebaldi as well).

Now to the record. The title gives the impression that here we’ve got all of Olivero’s official solo-records but this isn’t so and it’s a pity the firm didn’t produce a second CD with the lacking titles (the Cherry duet with Tagliavini; Amami Alfredo from Traviata; Amor, celeste ebrezza from Loreley; Panteismo and Triste est la steppe). That would have been short value but they could re-issue as well her only solo LP-album with songs of Faith and Devotion from 1970.

Of course we are not lacking in Olivero-issues as she herself said to me “I’m the queen of pirate recordings” (Leyla Gencer makes the same claim) and proudly showed a recent issue of her Mefistofele from Rio with Siepi and Labo which a fan had sent her for approval. Still not all of these many recordings were produced in excellent conditions and sometimes the sound picture is not a thing of beauty. I’m sorry to report that the sound on this CD is not always pristine as well. Two items were run through an echo chamber for I don’t know what reasons and the producers definitely didn’t use the original matrixes or tapes but used some less than mint 78’s as from time to time a small crackle pops up.

Now what can be said of the actual singing that has not been already said so many times before? Olivero is something of an acquired taste and she succeeds with means that could be called limited. The voice was not big but immensely well projected. It has an obtrusive vibrato, somewhat more in the pre- than in the post-war-recordings. Now for vibrato lovers like me that is a plus but in the Anglo-Saxon world that didn’t help her career. A score is not a sacrosanct object to revere but a means to construe a character and, if for that aim note values have to be lengthened or shortened, so be it. Sighs, sobs and growls are fine as long as it helps to define the heroine’s problems, though there are no such weird sounds to be found on these records that can compete with a lot of her live recordings where she pulls out all stops. And of course she is the queen too of the “fil de voce”, spinning out a phrase eternally to an almost whisper before swelling the tone once again to a forte. Everything is so exaggerated, so blown up that once more camp becomes pure art.

During my re-listening for the n-th time to these recordings I especially concentrated on the difference between her 1940 and her 1953 recordings and there is almost none. As is well-known, she didn’t sing in opera between 1941 and 1951 (desperately trying to get children) though she often performed in concerts and there is not the slightest wear. The only difference seems to be in the style where the sobs are more obtrusive, preparing the ground for her triumphs of the late fifties and sixties. In short Olivero’s solo-arias are a must in every vocal buffs collection. And by the way, in her big Traviata scene she is assisted by a nice tenor whose name is never mentioned on any re-issue. He is the completely forgotten Muzio Giovagnoli.

Jan Neckers

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):