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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.
Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and
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.
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.
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.
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.
Los Angeles Unified School District, Secondary Literacy