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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
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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.
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.
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.
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.
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.
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.
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.
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
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.
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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.
24 May 2006
Orchestral Excerpts from Wagner Operas
Among the plentiful selections of orchestral music from the operas of Richard Wagner, it is rare to find recordings that truly stand out, and this recent release of performances conducted by the late Klaus Tennstedt merits distinction.
Taken from the 1992 Proms concerts by the London Philharmonic, these live recordings
from that season demonstrate the famed conductor’s master hand at presenting
familiar works with energy and style.
The pieces included on this CD are the prelude to the opera Die Meistersinger
von Nürnberg; the overtures to Rienzi and Tannhaüser,
along with the “Venusberg” music from the latter opera; “Dawn
and Siegfried’s Rhine Journey,” along with “Siegfried’s
Funeral Music” from Götterdämmerung; and the concert
version of the “Ride of the Valkyries” from Die Walküre.
As familiar as these excerpts are, the performances preserved here are quite
vivid and immediate with regard to the quality of the sound and, more importantly,
the interpretation Tennstedt contributed to these performances.
The level of quality found in this CD is hardly unusual for Tennstedt, who
left a number of solid recordings of various works that remain engaging. Most
of all, Tennstedt’s legacy includes performances that are memorable for
solidly musical reasons. Without resorting to artifice or innovation for its
own sake, Tennstedt brought a certain vitality to familiar works like these
by not sacrificing the musical line to sheer effect. At times Tennstedt would
bring out details that may be less distinct in more routine performances of
works like these. Yet the descending line of the upper strings at the end of
the first section of the “Venusberg” music reinforces the transition
to the more expressive middle section that offers a signal to the perceptive
Likewise, Tennstedt’s treatment of the familiar overture to Rienzi
stands out for the way in which the drama emerges in this interpretation, which
is notably slower than some of the more familiar recorded versions of the piece.
By approaching this overture in this manner, Tennstedt brought out some details
that contribute to the sense of drama implicit in the score. The gradual crescendo
toward the full orchestral statement of the principal theme is noticeable and
thus highly effective. At the same time, the slower tempos help to accentuate
the drum rolls that are critical for the way they suspend the pulse of the work
– an effect Mahler would use to a similar end in the last movement of
his Second Symphony. At the same time, the careful tempos found in this performance
of the Rienzi overture allow the orchestra to shape lines. Thus, in
this piece and the other examples a vocal quality emerges from these exquisite
orchestral pieces from Wagner’s operas, such that the interpretations
reflect the nuances that are in the score, but difficult, at times, to achieve
in other circumstances.
Those familiar with Tennstedt’s fine recordings of Mahler’s symphonies
will appreciate his similar command of the London Philharmonic Orchestra in
these pieces by Wagner. They exhibit the level of performance mentioned in the
program notes, in which the critic Hugh Canning is quoted as referring to the
“exalted” quality of music-making in these performances. Released
by the London Philharmonic’s own archives, this is one of the Orchestra’s
own releases, and not a recording made through a commercial agency. It is laudable
that the London Philharmonic has brought out such a fine set of performances
that stem from a single season, rather than selections from various years which
might involve some variance in execution and sound quality.
Granted, this is Wagner presented in concert and in excerpt, with the selections
presented out of the context of the operas and music dramas to which they belong.
Even so, performances like these have been instrumental in bringing the music
to a wider audience and also in attracting audiences to the full versions of
the works to which they belong. The quality of these performances certainly
communicated the music effectively, as evidenced by enthusiastic applause retained
in the recordings conveys the intensity in this recent release of some exceptional
James L. Zychowicz