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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.
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.
01 Jun 2006
LE JEUNE: Autant en emporte le vent — French Chansons
In spite of the religious warfare that consumed France during the second half of the sixteenth century (which claimed the life of one eminent Catholic composer, Antoine de Bertrand, who was murdered by Protestants)*, musical life continued unabated.
Jeune, perhaps the most important of Protestant composers, lived to see the
accession of Henri IV, a Protestant who abjured his religion and returned to
the Catholic Church in order to become King (1593), but who managed to
achieve a cease-fire between the sides with the Edict of Nantes, which
allowed freedom of religion to the Protestants (1598). Le Jeune died at about
seventy in 1600, and we are fortunate that, though politics prevented his
works being printed during his lifetime, they were issued posthumously. Until
recently few had been issued in modern editions (though I recall being
entranced as a teen by his Te Deum, recorded in the Anthologie
Sonore in the fifties).
Le Jeune's output reflects a wide variety of styles — the more
traditional Parisian chanson, the settings of vers mésuré by the poet Baif,
Protestant psalm settings, and even a substantial number of canzonettas to
Italian texts (I have yet to see these last on disc). This is the third disc
by the Ensemble Clément Janequin to mine this rich vein (the two previous
devoted to chansons and sacred music respectively). The ECJ is one of our
treasures, resuscitating a huge and fascinating repertoire in almost four
(!!) decades of recordings, and it is to be expected that this collection is
first-rate. The quibbler/curmudgeon in me just sees a few mis-steps here. I
can't imagine that the arrangement of Laute joun (a rustic piece in
Gascon dialect) reflects the original — it's just too folk. As I don't
have access to the source, I can't nail this down in chapter and verse.
Povre coeur, entourné de de passions, de tant de nouveautés, de tant de
fictions makes ample reference to the musical novelties and musica ficta
of Le Jeune's Italian contemporaries (Marenzio, Luzzaschi, Gesualdo).
Unfortunately the busy lute added here confuses rather than clarifies the
musical difficulties. This should be a cappella, and much more Italian in
style — flexibility of rhythm, lingering over the chromaticisms. And
finally, the booklet, though it has notes in French, English and German,
gives the French texts, with no translations. Shame, shame, shame! I would
not like to see this continue. Even Anglophones with some French may need
help once in a while.
But these niggles are not enough to detract from your enjoyment of a
well-programmed and beautifully sung recording of important repertoire, a
worthy addition to the oeuvre of a fundamental ensemble. Warmly
* Editor's Note: The Protestant composer, Claude Goudimel, was
also a victim of the St.
Bartholomew's Day Massacre in August 1572. He is best known for his
contributions to the so-called Geneva Psalter. See Paul-André
Gaillard/Richard Freedman: 'Goudimel, Claude: Works', Grove Music