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Edouard Lalo (1823-92) is best known today for his instrumental works: the
Symphonie espagnole (which is, despite the title, a five-movement
violin concerto), the Symphony in G Minor, and perhaps some movements from his
ballet Namouna, a scintillating work that the young Debussy adored.
Two new recordings from highly acclaimed specialists Opera Rara -
Gounod La Colombe and Donizetti Le Duc d'Albe.
It is not often that a major work by a forgotten composer gets rediscovered
and makes an enormously favorable impression on today’s listeners. That has
happened, unexpectedly, with Herculanum, a four-act grand opera by
Félicien David, which in 2014 was recorded for the first time.
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.
01 Jun 2006
MONTEVERDI: Il ritorno d'Ulisse in patria
This Opus Arte set not only captures a mostly satisfying performance of Monteverdi's opera based on the last books of Homer's Odyssey, but features something even rarer: a booklet essay by the musical director (Glen Wilson) of remarkable lucidity.
Wilson covers the major issues in performing and staging a Monteverdi opera, and presents his justifications for his own decisions. Working with stage director Pierre Audi, Wilson has most fortunately helped to create a performance that reflects the insight and knowledge the essay indicates are in his possession.
However, no one would buy a DVD for the booklet essay. Wilson and Audi have put together an effective staging of as old an opera as any that gets staged (first performance, 1641), and it is Monteverdi's genius that makes the DVD worthy. The ecstatic excitement of Verdi lay two centuries in the future, and the lusher melodicism of Puccini another generation or two beyond that. Monteverdi's operas will likely never be as essential to the core repertory as his operatic descendants' work is; but this DVD shows that his work still makes its claim to the stage.
The spare set works well with the spare music. Handsome wooden floors support a few well-chosen props - a simple throne, a huge rock - with a gravel walkway slashing across the front. To supple some color, Penelope and her suitors are dressed in handsome solids of green, red, blue and yellow. Otherwise, the costuming, especially for Ulisse, remains on the drab side. Stage director Audi keeps the performers moving without indulging in frenetic over-activity, and the stage picture never grows stagnant. The most memorable stage effect occurs at the climax, when Ulisse drops his disguise as an old man and wreaks vengeance on the suitors against a background of flame. A fearsome hawk (seen with its trainer in an enjoyable bonus feature) also makes an impressive appearance as the suitors try to string Ulisse's bow.
The supporting cast features some very strong performances, including Diana Montague as the goddess Minerva (Wilson edited out other sections about the gods), Brian Asawa as both a symbolic human figure in the prologue and as a suitor, and Toby Spence as Telemaco. In what amounts to a cameo, the portly Alexander Oliver almost steals the show as Iro, one of the more disgusting abusers of Penelope's hospitality, who survives the final carnage long enough to sing of his gnawing hunger without the suitors to feed him, and then dies before us. His sweaty, blood-stained appearance may haunt many a viewer, but what really matters is the powerful way he uses a not every attractive voice to bring the scene to life (and then to his character's death!).
Though the two leads both give committed performances, neither completely satisfies. As Ulisse, Anthony Rolfe-Johnson relies on the audience's suspension of disbelief, as his hefty frame hardly suggests a man who has been through many a brutal trial over 10 years of war and 10 more of wandering. He has the resources for the role's vocal demands, but seldom puts a personal stamp on the music. Graciela Araya has the dignified posture for Penelope, but her rather homely tone doesn't earn her character much sympathy.
This may not be, then, a performance of a Monteverdi opera to attract opera lovers who have found the composer's works less than appealing in the past. However, for those open to the experience, the set, recorded at the Netherlands Opera in 1998, has much to recommend it.
Los Angeles Unified School District, Secondary Literacy