Recently in Recordings
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.
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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.
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supplemented by numerous production photographs and an informative article by
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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
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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.’
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With celebrations of the Verdi Bicentennial in full swing, there have been
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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.
02 Aug 2006
Ann Murray and Malcolm Martineau: Schumann, Mahler, Britten
Recorded in early May 2005 at Crear, an artists’ community in Argyll, Scotland, this CD contains selections of Lieder and songs that fit well the supple voice of the mezzo-soprano Ann Murray, who is accompanied facilely by the Scottish pianist Malcolm Martineau.
The program is varied,
which starts with Mahler set of five Rückert-Lieder, songs that date
from the first decade of the twentieth century. Murray’s thoughtful
performance of these songs is a good reminder of how fresh the pieces can be
in the hands of a musician like her, who is sensitive to both the melodic
line and the text. Nowhere does she overstate what is implicit in the text,
especially in “Liebst du um Schönheit,” a subtle song that works
well with Murray’s understated approach to the piece that requires the
control of an experienced Lieder singer.
At times the music reaches beyond the intimacy of the fine acoustic used
for this recording, as with “Um Mitternacht,” with its hymn-like
echoes that call to mind the orchestration Mahler made. If Murray is
sometimes overtly extraverted in interpreting this piece, her subtlety is all
the more apparent in “Ich bin der Welt abhanden gekommen,” a song
that the composer himself thought to be one of his finest efforts. Martineau
certainly creates a fine ensemble with Murray in delivering this song, and
the nuances he contributes anticipate the way he approached some of the other
music on the CD in what is essentially a recital at Crear.
It is unusual to find a work from an earlier period following such a
modern one as Mahler’s Rückert-Lieder, and the placement of Robert
Schumann’s cycle Frauenliebe und Leben at the center of this
recording is a wise choice. Albert von Chamiso’s texts point out some
moments in a woman’s existence, which receive a fine treatment from
Murray and Martineau. While the room sometimes swallows a few of
Murray’s lines, it also offers a good ambiance to the piano. The
performers give the pieces a proper ensemble, as occurs in the second song of
the cycle, “Er, der Herrlichste von allen.” The understatement in
“Ich kann’s nicht fassen, nicht glauben” fits the tone of
the piece well and shows the supportive role Martineau can offer when playing
this repertoire. All in all, this is a solid performance of this familiar
cycle that benefits from the even and appealing treatment of the vocal line
that Ann Murray brings to the recording.
Yet the pieces by Britten on this CD are treasures. Less familiar than
either the pieces by Mahler or Schumann, the Charm of Lullabies is a
work that deserves to be part of more programs, placed, perhaps, after music
that is more traditional. Murray brings personal and effective expression to
the English poetry Britten set, with the charming Scottish tones of
“The Highland Balou,” a setting of Burns that cannot be missed
for its incessant Scotch-snap rhythm in the accompaniment. In the hands of a
composer like Britten, English is a highly lyric language, and that aspect of
the pieces is not lost on Murray. The patter-song influence on “A
charm,” a setting of poetry by Thomas Randolph, is effective in
rendering a different kind of lullaby. “Sleep! Or I will make Erinnys
whip thee with a snake” and the lines that follow are hardly the kind
of verse an earnest parent would offer before sleep. Yet the final piece,
“The Nurse’s Song,” with version by the sixteenth-century
poet John Philip contains some wonderfully seductive harmonies.
Restful as that piece may be, the first of Britten’s Cabaret
Songs, “Calypso” can rouse anyone’s attention with its
strident whistle. The archness of the texts of this song, as well as the tone
of the others in the set, sounds as though the music was conceived for
Murray, who delivers them with panache. Martineau accompanies her with
finesse, as these somewhat popular-sounding songs round out this engaging
program. Britten’s effort in these songs, as well as the others he
composed, shows the development of the artsong in the twentieth century. Not
precisely Lieder in the strictest sense, these pieces are enjoyable because
of the way in which the text and the music balance each other smartly. As
with the Charm of Lullabies, the composer chose his texts carefully,
an aspect of his song output that makes the music attractive to performers
and their audience.
James L. Zychowicz