Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Recordings

A Verlaine Songbook

Back in the LP days, if a singer wanted to show some sophistication, s/he sometimes put out an album of songs by famous composers set to the poems of one poet: for example, Phyllis Curtin’s much-admired 1964 disc of Debussy and Fauré songs to poems by Verlaine, with pianist Ryan Edwards (available now as a CD from VAI).

Giovanni Simon Mayr: Medea in Corinto

The Bavarian-born Johann Simon Mayr (1763–1845) trained and made his career in Italy and thus ended up calling himself Giovanni Simone Mayr, or simply G. S. Mayr. He is best known for having been composition teacher to Giuseppe Donizetti.

Matthias Goerne: Bach Cantatas for Bass

In this new release for Harmonia Mundi, German baritone Matthias Goerne presents us with two gems of Bach’s cantata repertoire, with the texts of both BWV 56 and 82 exploring one’s sense of hope in death.  Goerne adeptly interprets the paradoxical combination of hope and despair that underpins these works, deploying a graceful lyricism alongside a richer, darker bass register.

Gramophone Award Winner — Matthias Goerne Brahms Vier ernste Gesänge

Winner of the 2017 Gramophone Awards, vocal category - Matthias Goerne and Christoph Eschenbach - Johannes Brahms Vier ernste Gesänge and other Brahms Lieder. Here is why ! An exceptional recording, probably a new benchmark.

Véronique Gens: Visions from Grand Opéra

Ravishing : Visions, Véronique Gens in a glorious new recording of French operatic gems, with Hervé Niquet conducting the Münchener Rundfunkorchester. This disc is a companion piece to Néère, where Gens sang familiar Duparc, Hahn, and Chausson mélodies.

John Joubert's Jane Eyre

Librettists have long mined the literature shelves for narratives that are ripe for musico-dramatic embodiment. On the whole, it’s the short stories and poems - The Turn of the Screw, Eugene Onegin or Death in Venice, for example - that best lend themselves to operatic adaptation.

Through Life and Love: Louise Alder sings Strauss

Soprano Louise Alder has had an eventful few months. Declared ‘Young Singer of the Year’ at the 2017 International Opera Awards in May, the following month she won the Dame Joan Sutherland Audience Prize at the BBC Cardiff Singer of the World.

A Master Baritone in Recital: Sesto Bruscantini, 1981

This is the only disc ever devoted to the art of Sesto Bruscantini (1919–2003). Record collectors value his performance of major baritone roles, especially comic but also serious ones, on many complete opera recordings, such as Il barbiere di Siviglia (with Victoria de los Angeles). He continued to perform at major houses until at least 1985 and even recorded Mozart's Don Alfonso in 1991, when he was 72.

Emalie Savoy: A Portrait

Since 1952, the ARD—the organization of German radio stations—has run an annual competition for young musicians. Winners have included Jessye Norman, Maurice André, Heinz Holliger, and Mitsuko Uchida. Starting in 2015, the CD firm GENUIN has offered, as a separate award, the chance for one of the prize winners to make a CD that can serve as a kind of calling card to the larger musical and music-loving world. In 2016, the second such CD award was given to the Aris Quartett (second-prize winner in the “string quartet” category).

Detlev Glanert : Requiem for Hieronymus Bosch

Detlev Glanert's Requiem for Hieronymus Bosch should be a huge hit. Just as Carl Orff's Carmina Burana appeals to audiences who don't listen to early music (or even to much classical music), Glanert's Requiem for Hieronymus Bosch has all the elements for instant popular success.

A Falstaff Opera in Shakespeare’s Words: Sir John in Love

Only one Shakespeare play has resulted in three operas that get performed today (whether internationally or primarily in one language-region). Perhaps surprisingly, the play in question is a comedy that is sometimes considered a lesser work by the Bard: The Merry Wives of Windsor.

A Resplendent Régine Crespin in Tosca

There have to be special reasons to release a monophonic live recording of a much-recorded opera. Often it can give us the opportunity to hear a singer in a major role that he or she never recorded commercially—or did record on some later occasion, when the voice was no longer fresh. Often a live recording catches the dramatic flow better than certain studio recordings that may be more perfect technically.

Karine Deshayes’s Astonishing New Rossini Recording

Critic and scholar John Barker has several times complained, in the pages of American Record Guide, about Baroque vocal recitals that add instrumental works or movements as supposed relief or (as he nicely calls them) “spacers.”

Knappertsbusch’s Only Recording of Lohengrin Released for the First Time

Hans Knappertsbusch was one of the most renowned Wagner conductors who ever lived. His recordings of Parsifal, especially, are near-legendary among confirmed Wagnerians.

Kathleen Ferrier Remembered

Kathleen Ferrier Remembered, from SOMM Recordings, makes available on CD archive broadcasts of British and German song. All come from BBC broadcasts made between 1947 and 1952. Of the 26 tracks in this collection, 19 are "new", not having been commercially released. The remaining seven have been remastered by sound restoration engineer Ted Kendall. Something here even for those who already own the complete recordings.

Color and Drama in Two Choral Requiems from Post-Napoleonic France

The Requiem text has brought out the best in many composers. Requiem settings by Mozart, Verdi, and Fauré are among the most beloved works among singers and listeners alike, and there are equally wondrous settings by Berlioz and Duruflé, as well as composers from before 1750, notably Jean Gilles.

Matthias Goerne - late Schumann songs, revealed

Matthias Goerne Schumann Lieder, with Markus Hinterhäuser, a new recording from Harmonia Mundi. Singers, especially baritones, often come into their prime as they approach 50, and Goerne, who has been a star since his 20's is now formidably impressive. The colours in his voice have matured, with even greater richness and depth than before.

LALO and COQUARD: La Jacquerie

La Jacquerie—here recorded for the first time—proves to be a wonderful opera, bringing delight upon delight.

Urania Remasters Marriage of Figaro

Good news for lovers of Mozart’s Marriage of Figaro: the famous Living Stereo recording, a co-production of RCA Victor and English Decca, is now available again, well remastered, on Urania.

Opera Rara: new recording of Bellini's Adelson e Salvini

In May 2016, Opera Rara gave Bellini aficionados a treat when they gave a concert performance of Vincenzo Bellini’s first opera, Adelson e Salvini, at the Barbican Hall. The preceding week had been spent in the BBC’s Maida Vale Studios, and this recording, released last month, is a very welcome addition to Opera Rara’s bel canto catalogue.

OPERA TODAY ARCHIVES »

Recordings

Nicolai Rimsky-Korsakov: Snegurochka
25 Aug 2006

RIMSKY-KORSAKOV: Snegurochka

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.

Nicolai Rimsky-Korsakov: Snegurochka

Solange Michel, Lucien Lovano, Janine Micheau, Rita Gorr, Michel Hamel, Joseph Peyron, Freda Betti, Geneviève Moizan, Michel Roux, Jean Giraudeau, Bernard Cottret, Michel Hamel, Gustave Wion; Orchestre et Choeur de l'ORTF, Charles Bruck (cond.)
Live recording: Paris, June 30, 1955

Ponto PTO 1036 [2CDs]

$10.99  Click to buy

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.

Jan Neckers

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):