Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Recordings

Gluck: Orfeo ed Euridice

This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.

Die Entführung aus dem Serail @ Hangar-7

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: Notturno

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 Sings Mahler Lieder

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.

Gergiev’s Das Rheingold

Das Rheingold launches what is perhaps the single most ambitious project in opera, Richard Wagner’s Der Ring des Nibelungen

Hänsel und Gretel

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.

Magdalena Kožená: Love and Longing

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 Magdalena Kožená.

Once I was: Songs by Ricky Ian Gordon

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.

Amore e Tormento

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.’ 

Rivals—Arias for Farinelli & Co.

In generations past, an important singer’s first recording of Italian arias would almost invariably have included the music of Verdi. 

Verdi at the Old MET

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.

Italo Montemezzi: L’amore dei tre re

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. 

Così fan tutte from DG

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. 

Heart’s Delight: The Songs of Richard Tauber

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.

Adriana Lecouvreur from Decca

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.

Lawrence Brownlee’s Spiritual Sketches

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.

Great Wagner Conductors from DG

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 archives.

Great Wagner Singers from DG

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.

Adding Movie Magic to The Magic Flute

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?

L’Incoronazione di Poppea from Virgin Classics

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. 

OPERA TODAY ARCHIVES »

Recordings

Hyperion CDA67559
31 Aug 2006

BRAHMS: Missa Canonica
RHEINBERGER: Mass

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.

J. S. Brahms: Missa Canonica; Rheinberger: Mass

The Westminster Cathedral Choir, Martin Baker, Director

Hyperion CDA67559 [CD]

 

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.

Steven Plank
Oberlin College

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):