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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.
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.’
In generations past, an important singer’s first recording of Italian arias would almost invariably have included the music of Verdi.
With celebrations of the Verdi Bicentennial in full swing, there have been
many grumblings about the precarious state of Verdi singing in the world’s
major opera houses today.
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.
Few operas inspire the kind of competing affection and controversy that have surrounded Mozart’s Così fan tutte almost since its first performance in Vienna in 1790.
During his career in film, opera, and operetta, Richard Tauber (1891 - 1948) enjoyed the sort of global fame that eludes all but the tiniest handful of ‘serious’ singers today.
Known principally for its two concert show-pieces for the leading lady, the success of Francesco Cilea’s Adriana Lecouvreur relies upon finding a soprano willing to take on, and able to pull off, the eponymous role.
It would be condescending and perhaps even offensive to suggest that singing
traditional Spirituals is a rite a passage for artists of color, but the musical heritage of the United States has been greatly enriched by the performances and recordings of Spirituals by important artists such as Paul Robeson, Marian Anderson, Leontyne Price, Martina Arroyo, Shirley Verrett, Grace Bumbry, Jessye Norman, Barbara Hendricks, Florence Quivar, Kathleen Battle, Harolyn Blackwell, and Denyce Graves.
As a companion to their excellent Great Wagner Singers boxed set
compiled and released in celebration of the Wagner Bicentennial, Deutsche
Grammophon have also released Great Wagner Conductors, a selection of
orchestral music conducted by five of the most iconic Wagnerian conductors of
the Twentieth Century, extracted from Deutsche Grammophon’s extensive
There could be no greater gift to the Wagnerian celebrating the Master’s
Bicentennial than this compilation from Deutsche Grammophon, aptly entitled
Great Wagner Singers.
What better way for Masonic brothers, Wolfgang Amadeus Mozart and Emmanuel Shikaneder to disseminate Masonic virtues, than through the most popular musical entertainment of their age, a happy ending folktale that features a dragon, enchanting flutes and bells, mixed-up parentage, and a beautiful young princess in distress?
Since its first performance at the Teatro Santi Giovanni e Paolo during Venice’s 1643 Carnevale, Monteverdi’s L’Incoronazione di Poppea has been one of the most important milestones in the genesis of modern opera despite its 250 years of unmerited obscurity.
Though 2013 is the bicentennial of the births of Giuseppe Verdi and Richard Wagner, the releases of Cecilia Bartoli’s recording of Bellini’s Norma on DECCA, a new studio recording of Donizetti’s Caterina Cornaro from Opera Rara, and this première recording of Saverio Mercadante’s forgotten I due Figaro, suggest that this is the start of a summer of bel canto.
Recording Richard Wagner’s Der Ring des Nibelungen is for a
record label equivalent to a climber reaching the summit of Mount Everest: it is the zenith from which a label surveys its position among its rivals and appreciates an achievement that can define its reputation for a generation.
Few people who love opera in general and bel canto in particular have never heard the comment made by Lilli Lehmann, veteran of the inaugural Ring at Bayreuth in 1876, that singing all three of Wagner’s Brünnhildes—in Die Walküre, Siegfried, and
Götterdämmerung, respectively, all of which she sang to great acclaim—pales in comparison with singing the title rôle in Bellini’s Norma.
Paul Dukas’ Ariane et Barbe-Bleue, first heard in 1907, once seemed important. Arturo Toscanini conducted the Met premiere in 1911 with Farrar and later arranged some of its music for a 1947 recording with his NBC Symphony.
31 Aug 2006
BRAHMS: Missa Canonica
The program for this recent recording from the choir of Westminster Cathedral presents sacred choral works by Brahms and Rheinberger, anchored at one end by Brahms’s youthful Missa Canonica and at the other by Rheinberger’s Mass for Double Choir in E-flat, Op. 109. with a handful of motets by Brahms in between.
Somewhat problematically, however, neither of the “anchors” seems to have sufficient interest or weight to support the recording as a whole. Brahms’ Missa Canonica consists of only a Kyrie, Sanctus, and Agnus Dei, and derives from the 1850s when Brahms was in his early twenties. The study of counterpoint and the influence of Joseph Joachim helped fortify Brahms for significant aspects of this musical chapter, and the Missa Canonica, a work that lay dormant until the middle of the twentieth century, bears the stamp of his contrapuntal immersion. The Kyrie seems to announce Renaissance ideals that are wed to melodic lines with a compelling Romantic sweep. And the conclusion of the Agnus is quite beautifully constructed. However, too much of this incomplete “Missa” feels like student exercise. We should welcome its modern rediscovery, publication, and recording, but I suspect its interest will lie as much in what it tells us about Brahms as the music itself.
Similarly, Rheinberger’s E-flat Mass will certainly present interesting moments—the halo effect of the “et incarnatus est” in the Creed is effective, as is the “sepultus est” that follows, and the intertwining of the voices of the Agnus Dei is wonderfully engaging—but much of the Mass is economical (the Gloria takes only a little over three minutes) and offers little that will substantially engage the listener.
Fortunately, the Brahms motets are jewels all, including both “Es ist das Heil” and “O Heiland reiss,” works that show Brahms’s affinity for the German motet tradition—they are chorale based and impressively contrapuntal—and his fluency in making that tradition his own. None of the motets are lovelier, however, than the Geistliches Lied, “Lass dich nur nichts nicht dauern.” Richly canonic—it comes from the same period as the canonic mass—it nevertheless veils its canonic richness with wonderfully unfolding lines and a congenially supportive organ accompaniment. The sense of return in leading to the final strophe is nothing short of magical, and the rich chain of suspensions that comprise the final Amen is breathtaking.
The trebles of the Westminster Choir sing with a decidedly “continental” edge to the sound, an often observed aspect of their tradition. Characterized by a bright timbre, the treble sound can indeed be thrilling in some contexts, but in the present recording the line separating brilliance and shrillness is sometimes too narrow, especially at loud volume and in the upper register. By analogy, too, the overall interpretive approach favors a high-energy level that in some instances is engagingly full of verve—the freudige Geist section of “Schaffe in mir” is a good example--but in other instances, the line that separates verve from aggression is also a narrow one, and sometimes misjudged here.
In the final reckoning, the program itself will perhaps leave the listener wanting a bigger serving of more substantial fare, and the choir’s style is at times overly brilliant and energized where warmth and a more graceful line might serve well. There are many beautiful moments, however, and the listener who seeks them out will find reward.