Recently in Recordings
The Feast at Solhaug : Henrik Ibsen's play Gildet paa Solhaug (1856) inspired Wilhelm Stenhammer's opera Gillet på Solhaug. The world premiere recording is now available via Sterling CD, in a 3 disc set which includes full libretto and background history.
Honours yet again to Oehms Classics who understand the importance of excellence. A composer as good, and as individual, as Walter Braunfels deserves nothing less.
‘Can great music be inspired by the throw of the dice?’ asks Peter Phillips, director of The Tallis Scholars, in his liner notes to the ensemble’s new recording of Josquin’s Missa Di dadi (The Dice Mass). The fifteenth-century artist certainly had an abundant supply of devotional imagery. As one scholar has put it, during this age there was neither ‘an object nor an action, however trivial, that [was] not constantly correlated with Christ or salvation’.
Francesco Cavalli’s La Calisto was the composer’s ﬁfteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.
New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.
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.
29 Nov 2006
CHARPENTIER: Le Malade Imaginaire
On the 10th February 1673, only a few months after their first collaboration, Jean-Baptiste Poquelin, better known as Molière (1622-1673), and Marc-Antoine Charpentier (1643-1704) presented at the Palais Royal’s theater Le Malade Imaginaire, a comédie ballet (a comedy with incidental music in the form of interludes built around a secondary plot).
At the request of Molière, who expected the first performance to take place at court in Versailles, Charpentier composed a very developed prologue entitled the «Eglogue en musique et en danse» («Eglogue in music and dance»), similar to the prologues which were to precede the lyrical tragedies of Lully, combining solo recitative and choruses, in praise of the king (Louis XIV). The Malade imaginaire is the last play by Molière, who died after its fourth performance, on the 17th February 1673.
As a genre, the comédie-ballet was invented by Molière and Lully in the 1660s and reached a climax with Le Bourgeois gentilhomme, in 1670. But the dispute between Lully and Molière (at the end of 1671), following the king’s musician being granted a monopoly for all dramatic productions with music in Paris — including those of Moliere — led the playwright to approch another composer, recently returned from Italy, who had not yet written any music for the stage: Charpentier.
The composer must have revised the music for the comedie-ballet at least twice, between 1673 and 1685, to meet the constraints imposed by the royal monopoly accorded to Lully and the Academie royale de musique, which after April 1673 held exclusive rights for all dramatic perfomances with music at the Palais Royal. These restrictions meant that Charpentier had to limit the number of singers and instrumentalists involved in each performance.
The recording presented by the Arts Florissants in 1990 and reissued here, has well stood the test of time. William Christie and his famous ensemble offer us a sparkling and dynamic interpretation. The group appears in its best form, giving the impression of freedom and exuberance — qualities which are lacking in another very good version recorded by Marc Minkowski and the Musiciens du Louvre also in 1990. Despite the homogénéity of the whole production, certain passages are particularly memorable; for example the opening Eglogue, where the orchestra and singers (Monique Zanetti, Noémi Rime, Howard Crook) are most impressive; the first interlude, includes an Italian aria «Zerbinetti», sung by an old woman (admirably depicted by the countertenor Dominique Visse) and dialogues between Polichinelle and the string orchestra, then another between Polichinelle and the ‘Archers’ which display all the skill and imagination of the musicians and actors. The latter include Alain Trétout and Jean Dautremay, who are dazzling. In brief, Le Malade imaginaire by the Arts florissants represents one of the best recordings of Charpentier’s music, which justifiably has attracted much attention during recent years. A pleasure that should not be missed.
Université de Montréal