Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Recordings

Jiří Bělohlávek : new editions of Janáček Glagolitic Mass, Sinfonietta

From Decca, Janáček classics with Jiří Bělohlávek conducting the Czech Philharmonic Orchestra. Given that Bělohlávek died in May 2017, all these recordings are relatively recent, not re-issues, and include performances of two new critical editions of the Glagolitic Mass and the Sinfonietta.

New Hans Zender Schubert Winterreise - Julian Prégardien

Hans Zender's Schuberts Winterreise is now established in the canon, but this recording with Julian Prégardien and the Deutsche Radio Philharmonie conducted by Robert Reimer is one of the most striking. Proof that new work, like good wine, needs to settle and mature to reveal its riches.

Magic Lantern Tales: darkness, disorientation and delight from Cheryl Frances-Hoad

“It produces Effects not only very delightful, but to such as know the contrivance, very wonderful; so that Spectators, not well versed in Opticks, that could see the various Apparitions and Disappearances, the Motions, Changes and Actions, that may this way be presented, would readily believe them super-natural and miraculous.”

Vaughan Williams: A Sea Symphony — Martyn Brabbins BBCSO

From Hyperion, an excellent new Ralph Vaughan Williams A Sea Symphony with Martyn Brabbins conducting the BBC Symphony Orchestra and BBC Symphony Chorus, Elizabeth Llewellyn and Marcus Farnsworth soloists. This follows on from Brabbins’s highly acclaimed Vaughan Williams Symphony no 2 "London" in the rarely heard 1920 version.

Superlative Lohengrin from Bayreuth, 1967

The names of Belfast-born soprano Heather Harper and Kansas-born tenor James King may not resonate for younger music lovers, but they sure do for folks my age. Harper was the glowing, nimble soprano in Colin Davis’s renowned 1966 recording of Handel’s Messiah and in Davis’s top-flight recording (ca. 1978) of Britten’s Peter Grimes, featuring Jon Vickers.

Classical Opera: Bastien und Bastienne on Signum Classics

Pride and Prejudice, North and South, Antony and Cleopatra, Much Ado About Nothing: literary fiction and drama are strewn with dissembling lovers who display differing degrees of Machiavellian sharpness in matters of amatory strategy. But, there is an artless ingenuousness about Bastien and Bastienne, the eponymous pastoral protagonists of Mozart’s 1768 opera, who pretend not to love in order to seal their shared romantic destiny, but who require a hefty dose of the ‘Magician’ Colas’s conjuring/charlatanry in order to avoid a future of lonely singledom.

A Stunning Semiramide from Opera Rara

In early October 1822, Gioachino Rossini summoned the librettist Gaetano Rossi to a villa (owned by his wife, the soprano Isabella Colbran) in Castenaso, just outside Bologna. Their project: to work on a new opera, which would be premiered during the Carnival in Venice on 3rd February the following year, based on the legend of Queen Semiramide.

Elgar Orchestral Songs - SOMM

Edward Elgar's Sea Pictures are extremely well-known, but many others are also worth hearing. From SOMM recordings, specialists in British repertoire, comes this interesting new collection of other Elgar orchestral songs, sponsored by the Elgar Society.

Beyond Gilbert and Sullivan: Edward Loder’s Raymond and Agnes and the Apotheosis of English Romantic Opera

Mention ‘nineteenth-century English opera’ to most people, and they will immediately think ‘Gilbert and Sullivan’. If they really know their Gilbert and Sullivan, they’ll probably remember that Sullivan always wanted to compose more serious operas, but that Gilbert resisted this, believing they should ‘stick to their last’: light, comic, tuneful satire.

Pan-European Orpheus : Julian Prégardien

"Orpheus I am!" - An unusual but very well chosen collection of songs, arias and madrigals from the 17th century, featuring Julian Prégardien and Teatro del mondo. Devised by Andreas Küppers, this collection crosses boundaries demonstrating how Italian, German, French and English contemporaries responded to the legend of Orpheus and Eurydice.

Laci Boldemann’s Opera Black Is White, Said the Emperor

We normally think of operas as being serious or comical. But a number of operas-some familiar, others forgotten-are neither of these. Instead, they are fantastical, dealing with such things as the fairy world and sorcerers, or with the world of dreams.

The Devil, Greed, War, and Simple Goodness: Ostrčil’s Jack’s Kingdom

Here is a little-known opera that, like an opera by the Swedish composer Laci Boldemann that I have reviewed here, and like Ravel’s amazing L’enfant et les sortilèges, utterly bypasses the usual categories of comic and grand/tragic by cultivating instead the rich realm of fantasy and folk tale.

Grands motets de Lalande

Majesté, a new recording by Le Poème Harmonique, led by Vincent Dumestre, of music by Michel-Richard de Lalande (1657-1726) new from Alpha Classics. Le Poème Harmonique are regular visitors to London, appreciated for the variety of their programes. On Friday this week, (11/5) they'll be at St John's Smith Square as part of the London Festival of Baroque, with a programme titled "At the World's Courts".

Perpetual Night - Early English Baroque, Ensemble Correspondances

New from Harmonia Mundi, Perpetual Night. a superb recording of ayres and songs from the 17th century, by Ensemble Correspondances with Sébastien Daucé and Lucile Richardot. Ensemble Correspondances are among the foremost exponents of the music of Versailles and the French royalty, so it's good to hear them turn to the music of the Stuart court.

Maria Callas: Tosca 1964: A film by Holger Preusse

When I reviewed Tosca at Covent Garden in January this year for Opera Today, Maria Callas’s 1964 Royal Opera House performance was still fresh in my mind. This is a recording I have grown up with and which, despite its flaws, is one of the greatest operatic statements - a glorious production which Zeffirelli finally agreed to staging, etched in gothic black and white film (albeit just Act II), with Maria Callas and Tito Gobbi, if not always as vocally commanding as they once were, acting out their roles like no one has before, or since.

Hubert Parry and the birth of English Song

British music would not be where it is today without the influence of Charles Hubert Parry. His large choral and orchestral works are well known, and his Jerusalem is almost the national anthem. But in the centenary of his death, we can re-appraise his role in the birth of modern British song.

Camille Saint-Saens: Mélodies avec orchestra

Saint-Saëns Mélodies avec orchestra with Yann Beuron and Tassis Christoyannis with the Orchestra della Svizzera Italiana conducted by Markus Poschner.

Les Funérailles Royales de Louis XIV recreated at Versailles

Les Funérailles Royales de Louis XIV, with Ensemble Pygmalion, conducted by Raphaël Pichon now on DVD/Blu -ray from Harmonia Mundi. This captures the historic performance at the Chapelle Royale de Versailles in November 2015, on the 300th anniversary of the King's death.

Tenebræ Responsories
recording by Stile Antico

Tomas Luis de Victoria’s Tenebrae Responsories are designed to occupy the final three days of Holy Week, and contemplate the themes of loss, betrayal and death that dominate the Easter week. As such, the Responsories demand a sense of darkness, reflection and depth that this new recording by Stile Antico - at least partially - captures.

Mahler Symphony no 9, Daniel Harding SRSO

Mahler Symphony no 9 in D major, with Daniel Harding conducting the Swedish Radio Symphony Orchestra, new from Harmonia Mundi. A rewarding performance on many levels, not least because it's thoughtfully sculpted, connecting structure to meaning.

OPERA TODAY ARCHIVES »

Recordings

The Jessye Norman Collection
29 Mar 2006

The Jessye Norman Collection from Philips

Jessye Norman’s long-time label, Philips, celebrates the artist’s sizeable recorded heritage with an expansive series of double CDs of re-releases, under the sobriquet The Jessye Norman Collection.

The Jessye Norman Collection

A Christmas Collection
Philips 00289 475 6398

Live at Hohenems & Salzburg Recital
Philips 00289 475 6389

Schubert & Mahler Lieder
Philips 00289 475 6392

Schoenberg “Erwartung” & Stravinsky “Oedipus Rex”
Philips 00289 475 6395

A Wagner Collection
Philips 00289 475 7154

$15.98 each  Click to buy

Thankfully some care has been taken to bring together recordings of compatible repertoire, whether it be a set of live recitals, another focusing on stark modernism (Schoenberg and Stravinsky), or two of her Christmas holiday extravaganzas. The singer’s ample gifts are on display on every set—but whether one has the appetite to devour a heaping platter of 5 of the sets in succession really depends on a strong preference for her voice of dark chocolate laced with honey. In the right amounts, what a stunning treat. In excess—an unhealthy wallow.

Each of the sets presents the original cover art for the CDs (except for A Wagner Collection, the second CD of which contains a compilation of excerpts from complete opera recordings). The original liner notes accompany a biographical note, reprinted in every set, which details Ms. Norman’s concert appearances in recent years and many honors bestowed on her. The prose here wanders fearfully close to obituary mode, but then an air of a “career achievement” retrospective covers the whole enterprise.

Of the five sets under review, your reviewer found the Live at Hohenems & Salzburg Recital set most enjoyable. The amount of applause recorded on the former could have been cut back, but tolerance wins the day, as the singer is in exemplary voice, in repertoire starting with Handel, working up to a large Schubert sampling, and ending with spirituals as encores. Few will want to hear Lascia ch’io pianga always sung with this ostentatious gorgeousness, but why not once in a while? Norman makes a substantial case for giving into temptation.

The second disc, with James Levine in impeccable accompaniment, has very disciplined but lively Wolf lieder, broken up with 5 satisfying dollops of Debussy.

The studio lieder sets (Schubert & Mahler Lieder) can’t be faulted for not possessing the extra aura of vitality a live recording bestows, but a sense of formality and restraint comes over both recordings at times.

The Wagner set has a first disc of rather short duration, with Colin Davis leading the LSO in the Tristan und Isolde prelude before Norman’s self-conscious but exquisite love death. A fine performance of the Wesendonk lieder follows. On the second disc, the excerpts from Parsifal, Lohengrin, and Die Walkure partner Norman with Placido Domingo for the first two and Gary Lakes for the last. The Norman voice exhibits its full power here—in company with a certain remoteness from the drama. Perhaps she is not helped her by a tentative quality in Domingo and Lakes’s adequate but uninspiring contribution.

Stravinsky’s Oedipus Rex has never come close to giving the Firebird or Le Sacre du Printemps any competition as one of the composer’s most popular pieces, but those who respond to the work can surely find much to value in Seiji Ozawa's recording, with Peter Schreier in the title role and a young Bryn Terfel as Creon. Norman’s refulgent tone here offers some aural compensation for those unenamored of Stravinsky’s dry approach. The second disc has Norman’s offering similar virtues to Schoenberg’s Erwartung, 25 minutes of a woman losing her mind in atonal agony. Many will sympathize. Several of the composer’s cabaret songs end the set with a sense of humor and style Schoenberg not too frequently allowed himself. Or us.

The last of these five sets will separate the Norman besotted from the Norman tolerant. Disc one, Christmastide, will fill the former with a grand, exuberant expression of the holiday spirit. The latter will cringe in pain and moan in despair at the lugubrious ballads and manic up-tempo numbers. And Philips has to release a larger version of that cover photo, for the perversely curious. What is going on with the singer’s hair? The Bride of Frankenstein would look askance. In the Spirit, the second disc, thankfully redeems the first (or supplements it beautifully, for those fans). Here the arrangements have taste and restraint, and Norman’s singing revels in the finer music, truly offering reason to be grateful.

Philips has several more of these two-disc sets, including Norman’s luxuriant Strauss and a compilation of her forays into spirituals. The best singing on the sets has an incomparable grandeur and beauty, so new comers to her art have many a treat in store for them. Her fans probably have most if not all of these already, and for those indifferent to the pleasures of releasing oneself into the all-encompassing embrace of her immense gift—they can skip these collections as they did the first time. Many great singers engender such a wide-range of responses, and Jessye Norman’s huge career deserves this generously proportioned celebration.

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):