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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.
19 Jul 2006
Leyla Gencer in Concert
There are lieder-recitals and there are lieder-recitals. In my experience Lucia Popp, Dietrich Fischer-Dieskau and Margaret Price stuck to their Lieder-guns till the last item, sometimes offering Strauss’ Zueignung as an encore.
And then there are the more, shall I say,
‘modern’ singers, usually not from Central Europe, who know all
too well the public is there for the voice and less for high art. When the
official programme is over, the public sighs a bit and waits for the real
meat: some unabashed opera aria where the singer can finally lash out. Grace
Bumbry was one of the first to use the method. Studer, Kasarova and
Hvorostovsky refined it by often choosing such lieder (often by Strauss or
Tchaikovsky) that could easily have been an aria. And Renée Fleming really
found the solution to it all by carefully choosing a theme, like music
inspired by Goethe so that she could hop from Gretchen am Spinrade
to “Roi de Thulé – Ah! Je ris de me voir si belle” from
Gounod’s Faust a long time before the encores were on.
This Gencer-recital still goes back to the time when opera was reserved
for the encores but make no mistake. The La Scala public puts up with the
music out of love for the soprano and not out of reverence for Bartok or
Liszt. Though the Hungarian songs are divided into groups according to a
theme, Gencer already gets a hearty applause after the first song while the
second one goes without though it concludes the theme. If anyone should still
have doubts, try track 3; a slow Transylvanian dancing song. Gencer finishes
it with her trade mark: an ascending pianissimo that seems to last
for eternity and the house comes down as this is the exact thing they came to
hear. Not that the record’s worth is limited to Gencer’s famous
head voice. She is in fabulous voice: warm and charming and at her best
behaviour. The many glottal attacks she often used and which sometimes marred
her operatic performances are almost completely absent. The voice stands like
a house and there is no trace of a wobble. With her peculiar sound, she is of
course at her best in slow melancholy songs like the Lamento Panaze
(track 8). I cannot judge her Hungarian but she is probably one of the few
non-native speakers at the time to get away with it as Hungarian is not a
European but an Asian language that adapted a lot of Turkish words; and
Gencer is, after all, the most famous Turkish singer.
In the Liszt songs she is even better, especially in Pace non
trovo (track 18) where she can mix pathos with her virtuosic agility
borne out from long experience with Donizetti. And then it’s time for
the public to sit back and relax and listen to her encores: a noble rendering
of Roberto Devereux, a heart warming ‘Ah non credea’ from
Sonnambula, a role she had only sung twice in her long career. And,
being an old pro, she refrains from adding the cabaletta ‘Ah! Non
giunge’ which probably would have put too much strain on the voice
after such a long career. She ends with an aria from Les Martyrs,
the reworked version of Poliuto which she had created in modern
times and which she would sing once again two months after this La Scala
recital (available on CD; a must). I would advise to have the sleeve notes in
hand when purchasing this record. They are really informative and are written
by Franca Cella, who wrote a big Italian-language biography of the soprano
(which was sadly never translated into another language).