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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.
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.
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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.
15 Jun 2006
BACH: Cantatas, vol. 14
This installment in the remarkable Bach Cantata Pilgrimage series presents four Christmas cantatas: “Gelobet seist du, Jesus Christ,” BWV 91; “Unser Mund sei voll Lachens,” BWV 110; “Dazu ist erschienen,” BWV 40; and “Christum wir sollen loben schon,” BWV 121, all recorded live in St. Bartholomew’s Church, New York City.
Given the festal context of Christmas, it is no surprise that the music often
takes a celebrative turn. The opening chorus of “Gelobet seist
du” is exuberant energy superimposed on a sturdy chorale frame; the
opening chorus of “Dazu ist erschienen” teems with sprightly
rhythmic verve and regal horn writing (both of which are echoed in the
rollicking tenor aria, “Christenkinder, freuet euch”); and the
melismatic laughter of the opening chorus of “Unser Mund sei voll
Lachens” is a richly spirited example of seasonal joy. Instrumentation
also plays a part in underscoring the affective propensities of Christmas,
and the virtuoso trumpeting of Gabriele Cassone is certainly a case in point,
especially in collaboration with bass Peter Harvey in the aria “Wacht
auf” from “Unser Mund sei voll Lachens.” Harvey, as in
other of the Cantata Pilgrimage recordings, is a joy to savor, rendering his
solos with a sound that is lithe, resonant and flexible and with a remarkable
flair for stylistic expression. Cassone, who impressively also plays the solo
horn parts on the recording, brings to the demanding trumpet lines a fine
combination of contoured phrasing, fluid articulation, and overall
brilliance. “Wacht auf,” unsurprisingly, is one of the high
points of the recording.
Certainly, this volume of Christmas cantatas manifests the high standards,
the attention to stylistic detail, and the zest for performance that have
long characterized the work of Gardiner and company. Not everything is
equally successful, however. In “Dazu ist erschienen” the first
two chorales are rendered with an exaggerated articulation that seems to turn
rhetorical gesture into mannerism. Bach’s homophonic settings are no
strangers to expressive content, certainly, as harmonic twists for the
enrichment of particular words well document, but here the clipped consonants
seem to do no more than surprise. The use of strong articulation to dramatic
ends fares much better in the solo singing of tenor James Gilchrist,
especially in this same cantata’s “Christenkinder, freuet
euch.” Gilchrist is a powerful singer, to be sure, and the affective
content and floridity of the aria are well met by his confidence. In other
places in the recording, however, some may find his sound rather too complex
and vibrant, especially in places where attention to the undulation of verbal
stress offers the chance for more contour.
Organized by liturgical feast, the recordings in this series can make
Bach’s developing compositional style conveniently visible. In volume
14 the cantatas are drawn from 1723, 1724, and 1725, a small chronological
window, but significantly we see Bach embracing dramatically different
approaches to cantata structure. While all use the familiar components of
extended chorus, da capo aria, and declamatory recitative, Bach’s
reliance on the chorale in the 1724 cantatas (BWV 91 and BWV 121) is
distinctively extensive, using paraphrases of choral verses to accommodate
the modern musical forms without obscuring the cohesion the choral text
offers. And in one instance, he mixes the choral text and melody with
paraphrased declamatory recitative, somewhat in the manner of a medieval
trope. Thus, while in sound the four cantatas here remain close one to
another, the varied structures behind the sound show Bach’s grappling
with questions of form. This, along with the spirited music making, gives the
listener much to savor, indeed.