Recently in Recordings
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
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Hampson is a welcome reminder that the rapt lyricism of Strauss’s settings
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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.
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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.
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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.
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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
29 Nov 2006
CHARPENTIER: Andromède; Ballet de Polyeucte
Conceived by Marc-Antoine Charpentier (1643-1704) to serve as musical interludes for a revival at the Jesuit college of Harcourt in 1680 of Pierre Corneille’s play, Polyeucte Martyr (originally written in 1642), the ballet Le combat de l'amour divin was composed for string orchestra with trumpets, kettledrums and continuo.
It presents several dance entries with varied titles that suggest the martyr’s internal conflict («Sentiments genereux et lasches» («Generous and cowardly feelings»).
Charpentier’s Andromède was also a revival; written by Corneille in 1650, this tragedy was performed again in April 1682, with new music composed by Charpentier to replace the original score of Charles Dassoucy. This revival, which was enormously expensive (above all for the costume and scenery ), doubtless aimed at restoring the glory of the Comédie Française, whose productions had been eclipsed by the new operas (tragédies lyriques) of Lully. In fact at the same time, Lully gave the first performances of his Persée — an opera composed on a libretto by Quinault which deals with the same myth. As Catherine Cessac explains in her book (Marc-Antoine Charpentier, Paris, 1988; rev. 2004; Engl. Translation 1995), Charpentier’s music was conceived in the same spirit as the decor and stage machines, which were the main attraction of the spectacle.
The recording by the New Chamber Opera and the Band of Instrument, directed by Gary Cooper, is uneven. In Andromède’s overture the musicians seem sometimes hesitant, which provokes a certain instability in rhythm as well as in dynamics; but the performance quickly picks up and gains in homogeneity when we hear the four singers (Rachel Elliott, soprano; James Gilchrist, tenor; Thomas Guthrie, baritone; Giles Underwood, bass) who are always very expressive. In this respect, the last two choruses of Andromède are quite successful.
The Ballet de Polieucte, opens with an overture originally composed by Charpentier for the revival, in July 1679, of Le Dépit amoureux, a play written by Molière in 1656. Here the instrumentalists exhibit a certain mastery of the style of the work, and manage to underline the contrasts between the dance entries (particularly in the striking «Marche de Triomphe», or gay «La joye seulle»).
Despite a few imperfections, we should be grateful that this recording presents us with two unknown works by Charpentier. But a recording cannot in any sense replace a stage representation and we hope that it may open the way for new performances (on stage). It is a pity that that these two musical plays have not yet aroused the interest and curiosity of stage directors, actors and musicians, particularly in this fourth centenary of the birth of Pierre Corneille (1606-1684). While in the Comédie Française in Paris Moliere’s Le Bourgeois Gentilhomme, L’Amour médecin and the Sicilien, with music by Lully, have enjoyed considerable, well merited, success for many years now, Corneille remains very neglected. But John Powell, Professor at the University of Tulsa (USA), eminent specialist of the music and theater in 17th century, invites us to appreciate his reconstruction of Andromède on the following web site: http://www.personal.utulsa.edu/~john-powell/Andromede/index.htm
Université de Montréal