Recently in Recordings
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 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.
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.
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.
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.
‘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’.
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.
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.
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.
Two new recordings from highly acclaimed specialists Opera Rara -
Gounod La Colombe and Donizetti Le Duc d'Albe.
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.
This recording, made in the Adrian Boult Hall at the Birmingham Conservatoire of Music in June 2014, is the fourth disc in SOMM’s series of recordings with Paul Spicer and the Birmingham Conservatoire Chamber Choir.
Félicien David’s intriguing Le désert, for vocal and orchestral forces plus narrator, was widely performed in its own day, then disappeared from the performing repertory for nearly a century.
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”
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.
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.
Marion Cotillard and Marc Soustrot bring the drama to the sweeping score of Arthur Honegger’s Jeanne d’Arc au
bûcher, an adaptation of the Trial of Joan of Arc
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.
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.
05 Mar 2006
HILLIARD ENSEMBLE: Thy Kiss of a Divine Nature — The Contemporary Perotin
The richness of the Ars Antiqua flourishing in Paris in the twelfth and thirteenth centuries marks the time as one of high cultural achievement, drawing nurture from the contemporaneous rise of the Cathedral of Notre Dame and the University of Paris.
In this environment, the composer Perotinus, along with the older Leoninus, cultivated polyphony and counterpoint in exciting new ways, extending music both vertically and horizontally, and at the same time pioneering new control of the temporal aspects of composition. The Ars Antiqua is by no means the birth of polyphony, but it is without a doubt a high point in its early cultivation. It is thus no surprise that Uli Aumüller’s fantasia on the theme of Perotin, “Thy Kiss of a Divine Nature,” is a film that is itself essentially “polyphonic.” Its polyphony is a variegated counterpoint of multiple “voices.” One voice is the music of Perotinus, sung with consummate style and grace by the Hilliard Ensemble, echoing the stunning beauty of their 1988 recording of Perotinus on ECM. A second voice is a choreographic one: two dancers, Simona Furlani and Tanja Oetterli, the choreographer, Johann Kresnik, and the cultural historian, Martin Burckhardt are shown in various stages of creating a dance that will interpret medieval views of the conception of Jesus, based on images in the texts that Perotinus sets. A third voice emerges in the presence of four scholars, discussing such issues as new concepts of time, performance practice, and the building of Gothic cathedrals. And a fourth voice is comprised of visual images from diverse paintings, architecture, etc. By no means consecutive variations on a theme—here’s the music, here’s the dance, here’s the scholar’s account—the film instead interweaves the “voices” in a contrapuntal fashion, moving from a bit of this to a bit of that and back to this again. Dizzying if you are looking for a tidy documentary account, but compellingly rhapsodic, if you are not.
Much is memorable here. One of the most successful scenes is countertenor David James’ solo rendition of “Beata viscera.” The performance takes place in the stark Church of St. Petri in Lübeck, whose bare walls become projection screens for fragmented images from Marian iconography. The fragmentation and repetition of images becomes itself a trope on the way parts relate to the whole, and given the polyphonic nature of the whole enterprise, it is a trope that seems strongly emblematic. Particularly engaging is the scene devoted to the imposing organum, “Viderunt.” A long work, its performance gives ample time for visual imagery to evolve, and it does so interestingly here. One of the themes of the film’s discussion is how the music of Perotinus reveals a new sense of time, resonant with the invention of the mechanical clock, an invention that allowed old, circular perceptions of time to be augmented by smaller modules of linear time. Thus, it is no surprise that during “Viderunt” we see clockwork imagery. Initially it appears iconic. That is, the imagery symbolizes the concept itself. But as things evolve, the clockwork becomes less iconic and more integral: the wheels and cogs moving at different speeds “choreograph” the motion of the notes and their interrelationships in a beautiful way.
One of the most memorable scenes is a tableau vivant, a stylized recreation of the Annunciation, breathtaking in its color, lighting, and mood. Surprisingly though, the visual inspiration here seems to be much more from the Renaissance than the Middle Ages, an anachronism that crops up in other places, as well. Also breathtaking is the long conductus, “Dum sigillum,” performed with projections of the dancers in a mystical whirl, the kind of moment where one feels—satisfyingly—that one has been awhirl oneself.
On the plus side, as well, are a number of extras in the production. A companion DVD offers a film record of a scholarly symposium on Perotinus—interesting in its substance, but also entertaining in the confrontations of personality and view—and a director’s commentary, “Perotinus Magnus: the Vision of a Film Project.” Additionally, there is also a CD soundtrack
There are some things with which to quibble. The film of the Hilliard Ensemble and the sound track are occasionally out of synch, something that surprises in a “music” film. And there is also a surprising confusion in the director’s mind about the “Immaculate Conception,” a doctrine that refers not to Mary’s virginal conception of Jesus, but rather to her own conception without original sin. As the conception of Jesus is one of the sharp focuses of the film, the misappropriation or confusion of terms is regrettable. But these are quibbles. A more substantial issue is the end product itself. “Thy Kiss of a Divine Nature” is a film that seeks to be bigger than the sum of its individual parts, and as a film, it needs to be. Here is where Aumüller faces his biggest challenge. All the “voices” here bear the imprint of the theme, but cohesion seems at times to be at risk. Given the number of intertwinings, one is not surprised that the “counterpoint” is complex, but in the end, it needs to be satisfyingly harmonious, as well. Twelfth-century enthusiasts will grant this to Aumüller’s work with a generous smile; others will likely find this quality a bit harder to find . . . but will smile, too.