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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.
23 Jun 2006
Renato Bruson — Live in Concert
One sign that a media market has really come into its own, economically speaking, is the appearance of items previously released in other formats, items that one struggles to imagine a wide market for. DVDs must be doing fairly well, then, in the classical market.
Here we have
a release from a company called "Fabula Classics" of a 60 minute
recital from 1983, with Renato Bruson singing 6 arias (mostly Verdi,
with 2 by Donizetti) and the Swiss-Italian Radio orchestra
performing the Barbieri di Siviglia sinfonia and the intermezzos from Manon Lescaut and I Pagliacci.
Undoubtedly, Renato Bruson deserves to have a record of his
singing at the peak of his career preserved. He has been one of the
sturdiest, most skilled of baritones, especially in the Italian
repertory. This particular recital, as filmed, doesn't do him justice.
First, the source film hasn't been improved by the transfer to DVD. The
video comes across as washed out, except for the brilliant blue of the
hall's seats (and it doesn't seem to have been a sell-out, considering
the scattered empty seats). Second, the camera work can serve as a
standard for perfunctory direction. Bruson enters for an aria,
acknowledges the audience, which is shown applauding, then the
conductor waits for a nod from the singer before giving the downbeat.
The aria then features close-up of the singer, then a stage view,
alternating occasionally with a pan of the musicians. The crowd shows up again at aria's end, to applaud Bruson before he exits. Repeat 6 times.
With a singer of Bruson's talent, no recital would be without some distinction. He begins with a rarity from Donizetti's La Favorita, "Vien
Leonora," and after "Di Provenza," features "Atanto amor" from the same
opera. In this relatively unfamiliar music, Bruson offers style and
masculine tone. However, by this third aria of the recital, a certain
sameness of technique and approach also makes itself felt, and that
sense lingers through Iago's credo, an aria from I Vespri Siciliani's
Monforte ("In braccio alle dovizie") and Rodrigo's death scene.The
hall's acoustic, or the placement of the microphones, also has the
voice a bit too up front, with an unpleasant fuzziness to Bruson's
louder singing, especially at high notes.
The booklet essay, by Arrigo Quattrocchi, has some insightful comments
about Bruson's career. Not all those comments, unfortunately, are borne
out by the recital. More of Bruson's "beautiful, burnished sound" would
especially have been appreciated. That essay appears in four languages,
and then the aria's texts are printed in Italian. The DVD does not
offer subtitles in any language.
Conductor Bruno Amaducci leads the Swiss-Italian radio Orchestra in the effective, if not exciting, instrumental selections.
All singers have fans eager to own every produced featuring their favorites. Only for Bruson fans can this DVD be recommended.
Los Angeles Unified School District, Secondary Literacy