Recently in Recordings

Italian Opera at the Liceu

The Gran Teatre del Liceu in Barcelona, after suffering a calamitous fire in the early 1990s, reopened in 1999, lovingly restored. TDK has released a series of DVDs from the Liceu since that date, providing ample evidence of the world...

MAHLER: Das Lied von der Erde

Premiered posthumously, the symphonic song-cycle Das Lied von der Erde by Gustav Mahler (1860-1911) remains one of his defining works because of its synthesis of song and symphony, two genres he pursued throughout his career.

J. S. Bach, arr. Robert Schumann. Johannes Passion.

In 1851 during his first season as music director in Düsseldorf, Robert Schumann presented a performance of Bach’s St. John Passion, and unsurprisingly adapted the score both to nineteenth-century taste and nineteenth-century practicalities.

DE LALANDE: Les Folies de Cardenio.

The centrality of dance at the French court helped bring grace, order, and political allegory into the characteristic prominence they enjoyed during the reigns of Louis XIV and Louis XV; theatre presentations of all stripes were infused with choreographic diversions.

SIBELIUS: Symphonies 1-7

In tandem with the recently released set of Sir Simon Rattle’s recordings of Mahler’s symphonies on EMI Classics, the set of the complete symphonies by Jean Sibelius merits attention.

Wagner: Orchestral Hightlights from the Operas

As much as Richard Wagner espoused opera reform in his theoretical writings by bringing to his works for the stage a closer unity between music and text, his actual means of doing so at times involved the use of orchestral forces that sometimes overwhelmed the sung word.

Italian opera on Gala

The budget label Gala purveys live performances both historic and relatively recent; of the three discussed here, the La Scala Fedora dates back to 1931, while the Attila comes from a 1987 La Fenice performance.

Echo de Paris: Parisian Love Songs 1610-1660

National styles of music in the seventeenth century were often distinctive, and in the case of French and Italian music, famously so.

MAHLER: Symphonies 1-10

With its recent release of Mahler’s symphonies conducted by Sir Simon Rattle, EMI Classics makes available in a single place an outstanding contribution to the composer’s discography.

WAGNER: Parsifal

This DVD records and commemorates a 1981 production of Parsifal in its Bayreuth lair, and the singers of 1981 are as fine as recollection might paint them.

Historic opera performances in Russian on Gala

Once the custom of the world's opera houses was to translate great operas into the language of each respective country.

Deutsche Grammophon budget opera sets

Repackaging older recordings having become the primary focus of a classical recording company's business, Deutsche Grammophon budgeted some funds for art direction for its budget series called "Opera House" (although that appellation only appears in a link found on the back inside cover of the sets' booklets).

STRAUSS: Der Rosenkavalier

Of Rosenkavaliers on DVD, the classics tend to be lovingly detailed productions, going back to the film of Herbert von Karajan leading an exemplary cast, with Elizabeth Schwarzkopf's iconic Marschallin.

Lamentazioni per la Settimana Santa

Despite an unsurprising degree of conservatism in liturgical music, devotional life in Rome often found ways of taking advantage of modern musical style.

Castradiva

“Her fioritura is priceless, breathtaking, and effortless.”

“One Foot in Eden Still, I Stand”: Choral Music by Nicholas Maw.

The English composer Nicholas Maw has been a major voice since the 1960's, with a wide range of works that include the 2002 opera, "Sophie’s Choice," a violin concerto for Joshua Bell (1993), and the monumentally-scaled orchestral work, "Odyssey" (1972-87).

MOZART: Requiem (Neukomm ed.)

As is often the case, last works that remain incomplete at the time of a composer’s death, are quick to invoke controversy and conspiracy theories.

ROUSSEAU: Le Devin du Village

This is a valuable new recording of a work that is only rarely heard, but was widely influential and wildly popular during the eighteenth century. Philosophe Jean-Jacques Rousseau wrote both the libretto and the music, with mixed success.

Les Élémens

This disc is well worth the price for the first track alone: the opening measures of Jean-Féry Rebel’s “Cahos,” (Chaos), written in 1737 or 1738, may cause you to wonder if you accidentally left a Stockhausen or Ligeti disc in the changer.

Jan Neckers on Recently Reissued Historicals: December 2007

This recording made half a century ago will not be anyone’s first choice unless one is a die-hard fan of one of the principal singers; neither of them belonging to the absolute top in their profession.

OPERA TODAY ARCHIVES »

Recordings

Trinity Sunday at Westminster Abbey
16 Jan 2006

Trinity Sunday at Westminster Abbey

Under the direction of James O’Donnell since January 2000, the Choir of Westminster Abbey has cultivated a robust singing style that well serves the music of this new recording and continues the Abbey’s position as one of the obvious standard bearers of the English cathedral tradition.

Trinity Sunday at Westminster Abbey

The Choir of Westminster Abbey; Robert Quinney, Organ; James O’Donnell, conductor

Hyperion CDA67557 [CD]

 

Trinity Sunday, the Sunday after Pentecost, is an unusual day in the Anglican church calendar—the only feast devoted to a doctrine—and the present recording presents music that one “might hear if you visited Westminster Abbey on Trinity Sunday.” The range of composers and styles represented is wide: Thomas Tomkins and John Farmer from the “Golden Age,” the richly Victorian John Stainer and George Elvey, twentieth-century stalwarts like Edward Bairstow, Herbert Howells, Benjamin Britten, and William Walton, and even a “modern” Francis Grier, all arranged to give a musical sense of the three choral services of the day: Matins, Eucharist, and Evensong.

The range seems to reflect actual practice, with the Dean of Westminster in a program note even suggesting that the range is, in context, “Trinitarian.” He writes that “from Tomkins through Elvey to Britten and Walton is comprehensive, mixing different styles, while their distinctiveness remains. Does not that exemplify the Trinity? One liturgy but three distinct but non-competing styles?” So, the recording is tightly thematic, although that said, the recording also seems perhaps a bit at odds with itself. In some ways it attempts to give a sense of being at a service—the opening peal of the Westminster bells, for instance, or the “functional” Preces and Responses at Matins are what one might expect in a service recording. But by the same token, the Evensong section omits responses and prayers, providing only the more musically substantial items. Surprisingly—and regrettably—none of the liturgical sections include any hymnody.

Other aspects of the programming are curious. The cathedral repertory is one rooted in tradition, and thus the frequency with which certain works get recorded is not altogether surprising. However, two of the larger works on the recording, Grier’s Missa Trinitatis Sanctae and Howells’ Magnificat and Nunc dimittis from the Westminster Service have both been recorded by the Abbey Choir under O’Donnell’s predecessor, Martin Neary, as recently as the mid-1990’s. This seems too much repetition, too soon. And, if the recording is to include but only one anthem, one wonders if Stainer’s “I saw the Lord” is the best choice. Its Victorian vocabulary easily seems decidedly melodramatic today in a way that is difficult to overcome, though admittedly, “after the smoke clears,” his lyric section is a welcome reminder of the tunefulness of the age.

Certainly there is much to like in the performances. I thought the choir at its best in the “Gloria” from Grier’s evocative Mass, where the combination of brilliant treble sound and marked rhythmic verve were particularly memorable. And, in general, it was the exuberant moments in a number of pieces—the climax of the Britten Te Deum, for instance—that found the choir most satisfyingly at home.

Certain other aspects were less satisfying. The evensong psalm, Psalm 107, is one of the longer, with a demanding forty-three verses. Given its great length, one might have imagined a more varied approach to the chanting, though the organist’s rumblings to depict “they . . . stagger like a drunken man” were well aimed. Also, in some instances throughout the recording, the blend seemed to suffer from too much vibrato in the lower men’s range. This proved particularly distracting in the mystical, intertwining lines of the Grier “Sanctus.”

“Trinity Sunday at Westminster Abbey,” though not without some curiosities and minor flaws, remains a welcome document of the richness of a liturgical and musical treasure. The distinguished musical tradition of the Abbey is, as always, one to savor.

Steven Plank
Oberlin College

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):