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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.
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.
01 Aug 2006
Morricone Conducts Morricone
Connoisseurs of pretentious booklet essay verbiage will delight in the prose style of Matthias Kellerin his musings for this EuroArts DVD of Ennio Morricone conducting his film scores with the Munich radio orchestra.
Translated from the German, Mr. Keller informs us that "It
is no exaggeration to call Ennio Morricone the Picasso of film music,
an experimenter for whom the synchronicity of the historically
diachronic has become a point of principle..." That's because
Morricone sometimes throws in a harpsichord or some such antiquated
musical instrument. Ergo - he's Picasso!
A master of his craft, Morricone certainly deserves an overview of
his work. Is this the ideal tribute? Doubtful. The composer leads the
large orchestra without much exertion; he spends a surprising amount of
time looking down at his own scores. The music is well-played and
recorded, but a few minutes of one score fading into a few minutes of
another doesn't make for the most riveting viewing experience.
The concert breaks his work into five sections, each with its own
title. Many will be waiting for the third, "Sergio Leone: Modern Film
legends." These are the classic scores that brought Morricone
world-wide fame. It is here that a soprano and chorus join the
orchestra for some vocalise-style contributions (thus prompting
this review for OperaToday). Susanna Rigacci is not asked to do too
much strenuous work, and probably her pleasant voice would be less
attractive if asked to. The chorus "ooh"s and "ahh"s with
Since 100 minutes of film music excerpts, even from as esteemed a
composer as Morricone, could use some variety, the vocals help break up
the program, as does a visit from Ulrich Herkenhoff, a panpipes
performer. Ultimately, this concert has to be for the most dedicated
film music fans. Music that adds so much to the cinematic experience
can be curiously uninvolving as concert fare, and Morricone himself,
with his deadpan manner, lacks charisma as a conductor. The
presentation is classy and the camera work professional (the director
credit goes to a Giovanni Morricone - no word as to a possible relation
to the composer). However, the few brief snippets of some actual film
footage serve to emphasize that the best presentation for this music
remains as soundtrack to a film experience.
Los Angeles Unified School District, Secondary Literacy