Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Recordings

Die Entführung aus dem Serail @ Hangar-7

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: Notturno

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 Sings Mahler Lieder

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.

Gergiev’s Das Rheingold

Das Rheingold launches what is perhaps the single most ambitious project in opera, Richard Wagner’s Der Ring des Nibelungen

Hänsel und Gretel

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.

Magdalena Kožená: Love and Longing

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 Magdalena Kožená.

Once I was: Songs by Ricky Ian Gordon

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.

Amore e Tormento

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.’ 

Rivals—Arias for Farinelli & Co.

In generations past, an important singer’s first recording of Italian arias would almost invariably have included the music of Verdi. 

Verdi at the Old MET

With celebrations of the Verdi Bicentennial in full swing, there have been many grumblings about the precarious state of Verdi singing in the world’s major opera houses today.

Italo Montemezzi: L’amore dei tre re

In the thirty-five years immediately following its American première at the Metropolitan Opera in 1914, Italo Montemezzi’s ‘Tragic Poem in Three Acts’ L’amore dei tre re was performed in New York on sixty-six occasions. 

Così fan tutte from DG

Few operas inspire the kind of competing affection and controversy that have surrounded Mozart’s Così fan tutte almost since its first performance in Vienna in 1790. 

Heart’s Delight: The Songs of Richard Tauber

During his career in film, opera, and operetta, Richard Tauber (1891 - 1948) enjoyed the sort of global fame that eludes all but the tiniest handful of ‘serious’ singers today.

Adriana Lecouvreur from Decca

Known principally for its two concert show-pieces for the leading lady, the success of Francesco Cilea’s Adriana Lecouvreur relies upon finding a soprano willing to take on, and able to pull off, the eponymous role.

Lawrence Brownlee’s Spiritual Sketches

It would be condescending and perhaps even offensive to suggest that singing traditional Spirituals is a rite a passage for artists of color, but the musical heritage of the United States has been greatly enriched by the performances and recordings of Spirituals by important artists such as Paul Robeson, Marian Anderson, Leontyne Price, Martina Arroyo, Shirley Verrett, Grace Bumbry, Jessye Norman, Barbara Hendricks, Florence Quivar, Kathleen Battle, Harolyn Blackwell, and Denyce Graves.

Great Wagner Conductors from DG

As a companion to their excellent Great Wagner Singers boxed set compiled and released in celebration of the Wagner Bicentennial, Deutsche Grammophon have also released Great Wagner Conductors, a selection of orchestral music conducted by five of the most iconic Wagnerian conductors of the Twentieth Century, extracted from Deutsche Grammophon’s extensive archives.

Great Wagner Singers from DG

There could be no greater gift to the Wagnerian celebrating the Master’s Bicentennial than this compilation from Deutsche Grammophon, aptly entitled Great Wagner Singers.

Adding Movie Magic to The Magic Flute

What better way for Masonic brothers, Wolfgang Amadeus Mozart and Emmanuel Shikaneder to disseminate Masonic virtues, than through the most popular musical entertainment of their age, a happy ending folktale that features a dragon, enchanting flutes and bells, mixed-up parentage, and a beautiful young princess in distress?

L’Incoronazione di Poppea from Virgin Classics

Since its first performance at the Teatro Santi Giovanni e Paolo during Venice’s 1643 Carnevale, Monteverdi’s L’Incoronazione di Poppea has been one of the most important milestones in the genesis of modern opera despite its 250 years of unmerited obscurity. 

Saverio Mercadante: I due Figaro

Though 2013 is the bicentennial of the births of Giuseppe Verdi and Richard Wagner, the releases of Cecilia Bartoli’s recording of Bellini’s Norma on DECCA, a new studio recording of Donizetti’s Caterina Cornaro from Opera Rara, and this première recording of Saverio Mercadante’s forgotten I due Figaro, suggest that this is the start of a summer of bel canto.

OPERA TODAY ARCHIVES »

Recordings

Sidney Jones: The Geisha
31 May 2006

JONES: The Geisha

Should Opera Today readers want to test where they would place themselves on a spectrum ranging from “completely politically incorrect” to “utterly politically correct,” the Hyperion Helios re-release of Sidney Jones “Japanese musical play” The Geisha surely will do the trick.

Sidney Jones: The Geisha

Lillian Watson, Christopher Maltman, Sarah Walker, Richard Suart, New London Light Opera Chorus, New London Orchestra / Ronald Corp

Hyperion CDH55245 [CD]

$10.99  Click to buy

Whether one does or does not have a taste for this genre — basically music hall Gilbert and Sullivan — the Asian stereotyping and parody here will either strike one as innocuous, perhaps at worst an unfortunate residue of a different time or place — or as completely beyond the bounds of civil etiquette.

From “Chon Kina”:

I’m the smartest little geisha in Japan
And the people call me Roli Poli San....

Chon kina, chon kina
Chon kina, chon kina
Nagasaki, Yokohama, Hakodaate ho!

From “Jolly young Jacks are we”:

We’ve seen all sorts and sizes too-
Some rather quaintly dress’d ones;
But give me eyes of English blue-
Believe me, they’re the best ones!

And — hold on — from “The Toy Monkey”:

Nobody doubts that this horrid Japanese
Wives — orientally has got;
One, two, three, or as many as you please....

Click! Click! he’s a monkey on a stick....
So I’ll keep him alive
Till my English friends arrive-
When I’ll wish him a polite good-day.

That number — written by a Lionel Monckton and inserted into Sidney Jones’s score — precedes the charming ditty, “Ching-a-ring-a-ree.” We will not go there.

Hyperion evidently has no compunctions recording — and then re-releasing — this material. The well-written booklet essay elaborates on Jones’s career and times, but never ventures a word regarding the material, other than to explain that Jones’s hit followed on the success of The Mikado. The score couldn’t hope for a better performance; Ronald Corp leads the New London Orchestra and a fine cast of singers, including Christopher Maltman and Sarah Walker.

Basically this is a series of songs, mostly relentlessly upbeat, in the “toe-tapping” mode, but with a weepy ballad or two thrown in. Most all the tunes start on the tonic and return there as often as possible. After about 10 minutes, how good some of Wagner’s knottiest chromaticism would sound. After 30 minutes, one longs for Wozzeck, some Moses und Aron, Die Soldaten. As the 75-minute mark approaches, keep any sharp objects away — the threat to do damage to one’s own eardrums is very real.

Evidently there is an audience for this music, as Hyperion has found the original recording worthy of re-release on its “budget” label, Helios. If Jack Bauer, during next season’s 24, must refrain from the more physical methods of extracting information from hideous terrorists, perhaps he will avail himself of a boombox and this recording, press the “repeat” button, sit back, and wait for the screaming to start. The world will be safe soon enough.

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):