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

A Falstaff Opera in Shakespeare’s Words: Sir John in Love

Only one Shakespeare play has resulted in three operas that get performed today (whether internationally or primarily in one language-region). Perhaps surprisingly, the play in question is a comedy that is sometimes considered a lesser work by the Bard: The Merry Wives of Windsor.

A Resplendent Régine Crespin in Tosca

There have to be special reasons to release a monophonic live recording of a much-recorded opera. Often it can give us the opportunity to hear a singer in a major role that he or she never recorded commercially—or did record on some later occasion, when the voice was no longer fresh. Often a live recording catches the dramatic flow better than certain studio recordings that may be more perfect technically.

Karine Deshayes’s Astonishing New Rossini Recording

Critic and scholar John Barker has several times complained, in the pages of American Record Guide, about Baroque vocal recitals that add instrumental works or movements as supposed relief or (as he nicely calls them) “spacers.”

Knappertsbusch’s Only Recording of Lohengrin Released for the First Time

Hans Knappertsbusch was one of the most renowned Wagner conductors who ever lived. His recordings of Parsifal, especially, are near-legendary among confirmed Wagnerians.

Kathleen Ferrier Remembered

Kathleen Ferrier Remembered, from SOMM Recordings, makes available on CD archive broadcasts of British and German song. All come from BBC broadcasts made between 1947 and 1952. Of the 26 tracks in this collection, 19 are "new", not having been commercially released. The remaining seven have been remastered by sound restoration engineer Ted Kendall. Something here even for those who already own the complete recordings.

Color and Drama in Two Choral Requiems from Post-Napoleonic France

The Requiem text has brought out the best in many composers. Requiem settings by Mozart, Verdi, and Fauré are among the most beloved works among singers and listeners alike, and there are equally wondrous settings by Berlioz and Duruflé, as well as composers from before 1750, notably Jean Gilles.

Matthias Goerne - late Schumann songs, revealed

Matthias Goerne Schumann Lieder, with Markus Hinterhäuser, a new recording from Harmonia Mundi. Singers, especially baritones, often come into their prime as they approach 50, and Goerne, who has been a star since his 20's is now formidably impressive. The colours in his voice have matured, with even greater richness and depth than before.

LALO and COQUARD: La Jacquerie

La Jacquerie—here recorded for the first time—proves to be a wonderful opera, bringing delight upon delight.

Urania Remasters Marriage of Figaro

Good news for lovers of Mozart’s Marriage of Figaro: the famous Living Stereo recording, a co-production of RCA Victor and English Decca, is now available again, well remastered, on Urania.

Opera Rara: new recording of Bellini's Adelson e Salvini

In May 2016, Opera Rara gave Bellini aficionados a treat when they gave a concert performance of Vincenzo Bellini’s first opera, Adelson e Salvini, at the Barbican Hall. The preceding week had been spent in the BBC’s Maida Vale Studios, and this recording, released last month, is a very welcome addition to Opera Rara’s bel canto catalogue.

Jonas Kaufmann : Mahler Das Lied von der Erde

Jonas Kaufmann Mahler Das Lied von der Erde is utterly unique but also works surprisingly well as a musical experience. This won't appeal to superficial listeners, but will reward those who take Mahler seriously enough to value the challenge of new perspectives.

The "Lost" Songs of Morfydd Owen

A new recording, made late last year, Morfydd Owen : Portrait of a Lost Icon, from Tŷ Cerdd, specialists in Welsh music, reveals Owen as one of the more distinctive voices in British music of her era : a grand claim but not without foundation. To this day, Owen's tally of prizes awarded by the Royal Academy of Music remains unrivalled.

Early Swedish opera - Stenhammer world premiere

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.

Walter Braunfels Orchestral Songs Vol 2

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.

The Tallis Scholars: Josquin's Missa Di dadi

‘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’.

A Venetian Double: English Touring Opera

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.

Walter Braunfels : Orchestral Songs Vol 1

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.

Lalo: Complete Songs

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.

New from Opera Rara : Gounod La Colombe and Donizetti Le Duc d'Albe

Two new recordings from highly acclaimed specialists Opera Rara - Gounod La Colombe and Donizetti Le Duc d'Albe.

Félicien David: Herculanum

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.

OPERA TODAY ARCHIVES »

Recordings

Britten: Serenade for Tenor, Horn and Strings; Les illuminations; Nocturne
25 Jan 2006

BRITTEN: Serenade for Tenor, Horn and Strings etc.

In an era where new studio recordings by major orchestras have dwindled to a pathetic dribble, leaving many fine institutions to start their own in-house labels, the Berlin Philharmonic still has an active contract with a major company (its conductor’s label of many years, EMI) and releases come on a regular basis. A recent one features some of Benjamin Britten’s great work for instruments and tenor.

Benjamin Britten:
(1) Serenade for Tenor, Horn and Strings; Les illuminations; Nocturne
(2) Sinfonia da Requiem; Four Sea Interludes and Passacaglia from Peter Grimes; Symphonic Suite from Gloriana

(1) Ian Bostridge, Berliner Philharmoniker, Simon Rattle (cond.)
(2) London Symphony Orchestra, Stuart Bedford (cond.)

(1) EMI 7243 5 58049 2 1 [CD]
(2) Naxos 8.557196 [CD]

 

For once, Simon Rattle’s face doesn’t dominate the cover art, nor does his name. Happily, the composer gets the largest font size, but right above his name comes that of the recording's star, Ian Bostridge, and his thin frame fills half the cover (not easy for a slender gentleman to do), photographed in the classic “pensive stare into the future” pose.

Bostridge joins a fairly extensive list of tenors – mostly British – who have recorded some or all of these pieces. The composer’s versions with his partner Peter Pears will never be eclipsed, but so great are these works than almost any version will have its merits. Not long ago Naxos re-released the Collins Classic recording with Philip Langridge singing the Serenade and Nocturne (reviewed here on Opera Today). So the most recent choice becomes one between a budget priced recording and this full-price release (the Naxos has Ann Murray singing Phaedra in place of Les Illuminations).

Your reviewer recommends acquiring both, if feasible. The Langridge/Bedford is warmly recorded and impeccably performed, all offered at low cost. This Bostridge/Rattle version, unsurprisingly, features state-of-the-art audio, and the special qualities of both vocalist and conductor are on ample display. Although some may take that as a warning.

As composed for Pears, these pieces do not require an ample voice, and Bostridge does not possess one. His lighter, sharply defined tenor settles right into the emotional ambiguity of the settings, carrying tinges of both irony and real sensitivity, even simultaneously. In “Being Beauteous” from Les Illuminations he manages some characterful low notes along with the resonant head voice many of the numbers ask for. The Serenade “Nocturne,” with its repeated refrain of “dying,” could have a little more individual color to each iteration, but the understated effect Bostridge employs has its justification as well.

Bostridge pulled another duty for the recording: he wrote a quite interesting booklet essay. He has a thorough command of each work’s creation and inspiration, and does not refrain from discussing the implications of Britten’s “attraction to young men or boys” when of possible relevance.

Conductor Rattle has shown in his career, besides a brilliance that has taken him far, an occasional tendency to wander off into details and momentary effects. In the famous shimmering opening chords of the Serenade “Nocturne,” he adopts an aggressive, slashing attack that strikes the ear at first as fresh and vital, but might come to seem arbitrary. The Berlin Philharmonic, needless to say, performs with exquisite precision, and Radek Baborak’s horn in the Serenade has a beauty others have foregone for a more sorrowful tone produced by the fragile intonation of a natural horn.

Those Berlin strings have such body and texture they begin to feel like a living organism, sighing and moaning with Bostridge’s vocal lines. Would it really be wrong to wrap oneself up in the exquisite texture they produce?

So those who have found Bostridge impressive, and the many fans apparently following all of Rattle’s recorded work with the Berlin Philharmonic, will want this disc. Most of all, lovers of these exquisite Britten scores should give a listen to these often arresting performances. The booklet essay and all texts are offered in English, French, and German.

britten_sinfonia.gifMeanwhile, Naxos continues its re-release of Britten’s music first published on Collins Classic. The latest disc features instrumental music from two operas, Gloriana and Peter Grimes. The Sea Interludes certainly do not lack for fine recorded performances, and these have much merit, but the wonderful music from Gloriana deserves wider exposure. The suite here opens with the opera’s opening tournament scene before segueing into the courtly dances, selections that are popular on some classical radio selections. Gloriana may be a problematic opera, but the suite is a delight from start to finish, something not always easy to say about Britten’s music.

The Sinfonia da Requiem returns to the more sober, bare style commonly associated with Britten, and Bedford and the LSO offer a powerful rendition.

Thirty years ago Britten died; these two discs indicate that his music retains its power and drama, and it will as long as artists as committed and serious as Bostridge and Rattle are drawn to it.

Chris Mullins
Los Angeles Unified School District, Secondary Literacy

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):