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Edouard Lalo (1823-92) is best known today for his instrumental works: the
Symphonie espagnole (which is, despite the title, a five-movement
violin concerto), the Symphony in G Minor, and perhaps some movements from his
ballet Namouna, a scintillating work that the young Debussy adored.
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.
25 Sep 2006
POULENC: Gloria and Stabat Mater
In the 1930s, Poulenc’s turn to writing sacred choral music such as the Litanies à la vierge noire and the Mass in G was closely linked to his new embrace of Roman Catholicism following the death of a close friend, the composer Pierre-Octave Ferroud.
This turn is echoed in the 1950s with both his Stabat Mater (1950) and his Gloria (1959), two works re-issued here in recordings from 1985 and 1989, performed by the French National Orchestra and the Choir of Radio France with the American soprano, Barbara Hendricks, conducted by Georges Prêtre.
Poulenc’s Gloria is often brilliantly exuberant, and this quality finds the forces at their best. The choir and orchestra alike shimmer and sparkle with flair, and this exuberance goes a long way towards securing the success of the performance. It is also quite striking how fluent the performers’ command of the idiom is. If Poulenc winks his eye, it is clear that the performers have no doubt about what the gesture means, and they embrace it with an engaging naturalness.
Not all of the Gloria is extroversion. The “Domine Deus” section has a memorable moodiness about it with haunting melodic contours; contours that soloist Barbara Hendricks negotiates with expressive ease. In this section, as well, the soprano is frequently given a simple, chant-like refrain, which she renders with much poise and control. Yet overall, I suspect it is the radiance of her sound that proves most memorable. Here in the Gloria, Prêtre (or is it the audio engineer?) lets the radiance play against the background sound of choir and orchestra, and keeps it in interesting timbral relief.
The Stabat Mater is a longer work and an emotionally more complex one, treating the inner turmoil of Mary at the Crucifixion and devotional responses to that. Over the length of the work, Poulenc’s score presents strong contrasts; contrasts that give it a dramatic edge—sometimes, even a narrative sense. Regrettably EMI has not included text or translation, thus veiling the score’s more specific gestures.
The choral performance in Stabat Mater is less convincing than in the Gloria. Acoustically the choir seems often in the background, even when their material is primary. Additionally, much of the singing here is soft—given the text, that is unsurprising—but the soft seems to be more “undersung” than “less loud”; it has a wispiness about it that makes you fear it may soon sag. It doesn’t, but the fear remains.
In an age of recyclables, we can be grateful that EMI has given these performances a second life. The Gloria is wonderfully idiomatic and engaging, with soprano solos of distinctive beauty.