Recently in Recordings
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.
This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.
We see the characters first in two boxes at an opera house. The five singers share a box and stare at the stage. But Konstanze’s eye is caught by a man in a box opposite: Bassa Selim (actor Tobias Moretti), who stares steadily at her and broods in voiceover at having lost her, his inspiration.
Richard Strauss may be most closely associated with the soprano voice but
this recording of a selection of the composer’s lieder by baritone Thomas
Hampson is a welcome reminder that the rapt lyricism of Strauss’s settings
can be rendered with equal beauty and character by the low male voice.
Bernarda Fink’s recording of Gustav Mahler’s Lieder is an important new release that includes outstanding performances of the composer’s well-known songs, along with compelling readings of some less-familiar ones.
Das Rheingold launches what is perhaps the single most ambitious project in opera, Richard Wagner’s Der Ring des Nibelungen.
This live performance of Laurent Pelly’s Glyndebourne staging of
Humperdinck’s affectionately regarded fairy tale opera, was recorded at
Glyndebourne Opera House in July and August 2010, and the handsomely produced
disc set — the discs are presented in a hard-backed, glossy-leaved book and
supplemented by numerous production photographs and an informative article by
Julian Johnson — is certainly stylish and unquestionably recommendable.
Recorded at a live performance in 2012, this CD brings together an eclectic
selection of turn-of-the-century orchestral songs and affirms the extraordinary
versatility, musicianship and technical accomplishment of mezzo-soprano
Once I was: Songs by Ricky Ian Gordon features an assortment of
songs by Ricky Ian Gordon interpreted by soprano Stacey Tappan, a longtime
friend of the composer since their work on his opera Morning Star at
the Lyric Opera of Chicago.
Alfredo Kraus, one of the most astute artists in operatic history in terms of careful management of technique and vocal resources, once said in an interview that ‘you have to make a choice when you start to sing and decide whether you want to service the music, and be at the top of your art, or if you want to be a very popular tenor.’
In generations past, an important singer’s first recording of Italian arias would almost invariably have included the music of Verdi.
21 Mar 2006
VERDI: La forza del destino
After issuing recordings of Les Vêpres Siciliennes, Simon Boccanegra, and Macbeth, Opera Rara continues it series of Verdi Originals—first versions of operas the composer later revised—with La forza del destino.
Recorded in 1981 and broadcast by the BBC two years later, the performance features Martina Arroyo as Leonora, Kenneth Collins as Don Alvaro, Peter Glossop as Don Carlo, and Janet Coster as Preziosilla. This “original” Forza, proposed as such first by the BBC (although no score or source is identified in the recording), replicates the first version of the opera written for the Imperial Theatre in St. Petersburg in 1862. It differs in several ways from the traditionally-performed revision made for La Scala some seven years later. First, it features a preludio, more concise than the familiar overture but based on the same themes that foreshadow the action. Furthermore, the order of events in Act 3 is different, but the most significant contrast between the Russian and Italian Forzas involves the three deaths at the opera’s conclusion. Perhaps more brutal but clearly more in line with the Spanish drama that served as the libretto’s source was the initial version’s onstage demise of all three main characters (Alvaro mortally wounds Carlo, who in turn stabs Leonora, his own sister. A distraught Alvaro then throws himself off a cliff). However, claiming that one is hearing the “original” Forza is a bit more complicated than simply pointing out how versions differ.
Verdi began to revise his score even while he was in St. Petersburg; these materials were (and still are) located in the archives of the Mariinsky Theatre.* It is these sources (along with a piano/vocal score, as this author was told in a visit to the archive) that furnished the version produced at the Mariinsky and recorded by Valery Gergiev. The publication of the long-awaited scholarly edition of Forza, done under the auspices of The University of Chicago and Ricordi’s The Works of Giuseppe Verdi, is imminent, though, so it soon will be possible to see precisely how true to the original this BBC production (and indeed Gergiev’s) was.
The remastering of the BBC’s production results in an impressive recording. The singers, however, were all “of an age” when it was made and unfortunately, this shows. Arroyo’s Leonora is strong, vibrant and rich in tone. Equally pairing her is Collins, who sings with a pure, clear voice. The disappointment is Glossop. This legendary performer seems beyond the point of performing a role like Carlo; indeed his rendering of the “student” aria, “Son Pereda, son ricco d’onore” is outright implausible. His pairing with Collins in “Amici in vita e in morte” sounds more like a father-and-son duet rather than one sung by two friends. Coster is notable as Preziosilla, although she seems to have a problem with some of the lower pitches in the “Rataplan.” The rest of the cast, including Derek Hammond-Stroud as Fra Melitone, is impressive and right on the mark. The BBC Chorus, as usual, is perfection, but one wonders if the BBC Orchestra, under the direction of John Matheson, did not use a little too much “fire power.” At times, it has more “forza” than the Petersburg orchestra certainly would have had. Although it ably builds the atmosphere and excitement of this dynamic score, it often overwhelms. Of course, the recordings—both the original and the remastering—were not aimed at authentic practice but at representing an “original” masterpiece.
*Those interested in reading about these revisions are referred to William C. Holmes’ article “The Earliest Revisions of La forza del destino” in Studi Verdiani, Vol. 6, 1990.
**Author: Opera: The Basics (New York and London: Routledge, 2006)