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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.
02 Aug 2006
Mirella Freni and Cesare Siepi Live in Concert
In summer doldrums? Spend a delightful hour with two great artists in a rare joint appearance, as Fabula Classics has resurrected for DVD a 1985 Cesare Siepi and Mirelle Freni televised recital.
As with a
recently reviewed Renato Bruson concert, this event took place in
Lugano, Switzerland. Once again, Bruno Amaducci conducts the
Swiss-Italian Radio orchestra. They do a decent run-through of Otto
Nicolai's Merry Wives of Windsor curtain raiser, and later a dramatic Don Giovanni
overture. Other than that, the focus is on two great singers; one
somewhat late in his career, one in her prime, but both providing
generous listening pleasure.
Siepi appears first, and just to watch his tall, gentlemanly figure
take the stage prompts anticipation.With a modest nod to the audience,
he begins with a tasty rare morsel, Jupiter's berceuse from Gounod's Philemon et Baucis. There
can't be many bass arias as light and tuneful as this, and though
Siepi's vocal production does give evidence of the length of his
career, the handsomeness of his tone and the commanding technique
more than compensate.
Freni follows with Margherita's prison solo from Boito's Mefistofele.
The singer's innate sweetness and vulnerability make this an especially
successful aria for her. The two Puccini selections ("Vissi d'arte" and
"O mio babbino caro") are lovely enough but more generic in approach.
Siepi turns to Verdi's for Fiesco's "Il lacerato spirito" from Simon Boccanegra and the great Filippo II scene from Don Carlos. With
his characteristic restraint and dignity, Siepi underplays the hurt of
Filippo, which allows the aria to truly build in pathos. On the other
hand, the Fiesco aria could have used a little more edge.
Freni took on the role of Don Carlos's
Elisabetta around this time, and she manages the supremely challenging
"Tu che le vanita" very well, but without quite the dramatic commitment
to make the long selection (11 minutes) thoroughly captivating.
After the Don Giovanni overture,
Siepi sings a playful catalog aria; to have this great Don take on
Leporello might seem a bit odd to some, but his Don is not scanted.
Soon Freni joins him as Zerlina, and their "La ci darem la mano" caps
the concert beautifully, only leaving the wish that the program had
included more duets.
The booklet has a short essay and the texts are in their original languages. No subtitles are provided.
Los Angeles Unified School District, Secondary Literacy