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Two new recordings from highly acclaimed specialists Opera Rara -
Gounod La Colombe and Donizetti Le Duc d'Albe.
It is not often that a major work by a forgotten composer gets rediscovered
and makes an enormously favorable impression on today’s listeners. That has
happened, unexpectedly, with Herculanum, a four-act grand opera by
Félicien David, which in 2014 was recorded for the first time.
This recording, made in the Adrian Boult Hall at the Birmingham Conservatoire of Music in June 2014, is the fourth disc in SOMM’s series of recordings with Paul Spicer and the Birmingham Conservatoire Chamber Choir.
Félicien David’s intriguing Le désert, for vocal and orchestral forces plus narrator, was widely performed in its own day, then disappeared from the performing repertory for nearly a century.
This well-packed disc is a delight and a revelation. Until now, even the
most assiduous record collector had access to only a few of the nearly 100
songs published by Félicien David (1810-76), in recordings by such notable
artists as Huguette Tourangeau, Ursula Mayer-Reinach, Udo Reinemann, and Joan
Sutherland (the last-mentioned singing the duet “Les Hirondelles”
This new release of John Taverner’s virtuosic and florid Missa
Corona spinea (produced by Gimell Records) comes two years after The
Tallis Scholars’ critically esteemed recording of the composer’s
Missa Gloria tibi Trinitas, which topped the UK Specialist Classical
Album Chart for 6 weeks, and with which the ensemble celebrated their
40th anniversary. The recording also includes Taverner’s two
settings of Dum transisset Sabbatum.
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.
Marion Cotillard and Marc Soustrot bring the drama to the sweeping score of Arthur Honegger’s Jeanne d’Arc au
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.
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.
25 Aug 2006
This is a most sympathetic performance, though perhaps being a Fleming helps. In my small country on the frontier of Northern and Southern European influences, many musical styles made their entrance and became popular.
Until the seventies, Bel Canto on the radio meant broadcasts of Italian, French, German and Russian opera, operettas, zarzuela, the token Gilbert and Sullivan, canzoni napolentane and American love songs. Because of the eclectic mix, “O wie so trügerisch” and “Comme la plume au vent” sounded as familiar as “La donna è mobile” performed in half a dozen different languages.
And then there was Henri Goraieb, a well-known French pianist who programmed a Bel Canto program on France Musique, which was immensely popular all over Western Europe. Almost every week Goraieb presented selections from a seemingly inexhaustible collection of radio performances given in France from the forties until the sixties. Rarely recorded artist such as Marthe Luccioni, Georges Noré, Odette Turba-Rabier, Jeanne Guyllama, Raphael Romangioni, and many others now became household names. Even great names like Alain Vanzo became greater still with the broadcast of performances of the prime, and even exhumed recordings thought to be lost forever. Even the lesser “starry” singers were busily employed at French radio that they had almost a year’s workload. Singers like Joseph Peyron, Lucien Lovano and Geneviève Moizan found that a radio career was ideally suited to their personal needs.
Hence, this Snegurochka is somewhat of a feast of recognizance for this reviewer, who maybe is somewhat less objective than ought to be. This is not my first choice, however, if one absolutely needed an authentic and complete Russian version. There are some cuts in the performance, and the sound is a bit constricted, favoring the voices, which makes it difficult to judge the role of conductor Charles Bruck. Yet the ensembles go smoothly without hesitation, which may be due in part to strict rehearsals.
The performance begins with Solange Michel, a fine voice and a truly authentic Carmen, which nevertheless is only the second mezzo in the cast accompanying Rita Gorr in the role of Lel. For Gorr admirers, the voice is at its best with the well-known lush sound without stridency. The title role, sung b Janine Micheau, a fine lyric soprano with somewhat sweet and sour timbre French sopranos are famous for. Her voice is still fresh and beautiful, far less wooden that later recordings. Yet vocal honors certainly are awarded to Geneviève Moizan as Kupava. Her sound is wonderfully lyric, clear, and personal, a sound, which makes the listener sit up and take notice. Michel Roux is a sonorous and convincing Mizgir, and tenor Jean Giaudeau’s role is completely suited to his particular talents. All these singers have excellent pronunciation. Even the women are almost always clearly understandable.
So, if you want to know what French singing was all about before the run for original language performances, this is the recording for you. Hopefully Ponto will further delve into the rich heritage of French radio in the future.