Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Recordings

Schumann Symphonies, influenced by song

John Eliot Gardiner's Schumann series with the London Symphony Orchestra, demonstrate the how Schumann’s Lieder and piano music influenced his approach to symphonic form and his interests in music drama.

Unusual and beautiful: Mirga Gražinytė-Tyla conducts the music of Raminta Šerkšnytė

Mirga Gražinytė-Tyla conducts the music of Raminta Šerkšnytė with the Kremerata Baltica, in this new release from Deutsche Grammophon.

Diana Damrau sings Richard Strauss’s Vier letzte Lieder on Erato

“How weary we are of wandering/Is this perhaps death?” These closing words of ‘Im Abendrot’, the last of Richard Strauss’s Vier letzte Lieder, and the composer’s own valedictory work, now seem unusually poignant since they stand as an epitaph to Mariss Jansons’s final Strauss recording.

Vaughan Williams Symphonies 3 & 4 from Hyperion

Latest in the highly acclaimed Hyperion series of Ralph Vaughan Williams symphonies, Symphonies no 3 and 4, with Martyn Brabbins and the BBC Symphony Orchestra, recorded in late 2018 after a series of live performances.

Bach’s Christmas Oratorio with the Thomanerchor and Gewandhausorchester Leipzig

This Accentus release of J.S. Bach’s Christmas Oratorio, recorded live on 15/16th December 2018 at St. Thomas’s Church Leipzig, takes the listener ‘back to Bach’, so to speak.

Retrospect Opera's new recording of Ethel Smyth's Fête Galante

Writing in April 1923 in The Bookman, of which he was editor, about Ethel Smyth’s The Boatswain’s Mate (1913-14) - the most frequently performed of the composer’s own operas during her lifetime - Rodney Bennett reflected on the principal reasons for the general neglect of Smyth’s music in her native land.

A compelling new recording of Bruckner's early Requiem

The death of his friend and mentor Franz Seiler, notary at the St Florian monastery to which he had returned as a teaching assistant in 1845, was the immediate circumstance which led the 24-year-old Anton Bruckner to compose his first large-scale sacred work: the Requiem in D minor for soloists, choir, organ continuo and orchestra, which he completed on 14th March 1849.

Emmerich Kálmán: Ein Herbstmanöver

Brilliant Emmerich Kálmán’s Ein Herbstmanöver from the Stadttheater, Giessen in 2018, conducted by Michael Hofstetter now on Oehms Classics, in a performing version by Balázs Kovalik.

Liszt Petrarca Sonnets complete – Andrè Schuen, Daniel Heide

An ambitious new series focusing on the songs of Franz Liszt, starting with all three versions of the Tre Sonetti del Petrarca, (Petrarca Sonnets), S.270a, S.270b and S.161 with Andrè Schuen and Daniel Heide for Avi-music.de.

Une soirée chez Berlioz – lyrical rarities, on Berlioz’s own guitar

Une soirée chez Berlioz – an evening with Berlioz, songs for voice, piano and guitar, with Stéphanie D’Oustrac, Thibaut Roussel (guitar), and Tanguy de Williencourt (piano).

A Baroque Christmas from Harmonia Mundi

A baroque Christmas from Harmonia Mundi, this year’s offering in their acclaimed Christmas series. Great value for money - four CDs of music so good that it shouldn’t be saved just for Christmas. The prize here, though is the Pastorale de Noël by Marc-Antoine Charpentier with Ensemble Correspondances, with Sébastien Daucé, highly acclaimed on its first release just a few years ago.

Christmas at St George’s Windsor

Christmas at St George’s Chapel, Windsor, with the Choir of St. George’s Chapel, Windsor Castle, James Vivian, organist and conductor. New from Hyperion, this continues their series of previous recordings with this Choir. The College of St George, founded in 1348, is unusual in that it is a Royal Peculiar, a parish under the direct jurisdiction of the monarch, rather than the diocese.

From Darkness into Light: Antoine Brumel’s Complete Lamentations of Jeremiah for Good Friday

As a musicologist, particularly when working in the field of historical documents, one is always hoping to discover that unknown score, letter, household account book - even a shopping list or scribbled memo - which will reveal much about the composition, performance or context of a musical work which might otherwise remain embedded within or behind the inscrutable walls of the past.

Time and Space: Songs by Holst and Vaughan Williams

New from Albion, Time and Space: Songs by Holst and Vaughan Williams, with Mary Bevan, Roderick Williams, William Vann and Jack Liebeck, highlighting the close personal relationship between the two composers.

Puccini's Le Willis: a fine new recording from Opera Rara

The 23-year-old Giacomo Puccini was still three months from the end of his studies at the Conservatoire in Milan when, in April 1883, he spotted an announcement of a competition for a one-act opera in Il teatro illustrato, a journal was published by Edoardo Sonzogno, the Italian publisher of Bizet's Carmen.

Liszt: O lieb! – Lieder and Mélodie

O Lieb! presents the lieder of Franz Liszt with a distinctive spark from Cyrille Dubois and Tristan Raës, from Aparté. Though young, Dubois is very highly regarded. His voice has a luminous natural elegance, ideal for the Mélodie and French operatic repertoire he does so well. With these settings by Franz Liszt, Dubois brings out the refinement and sophistication of Liszt’s approach to song.

The Academy of Ancient Music's superb recording of Handel's Brockes-Passion

The Academy of Ancient Music’s new release of Handel’s Brockes-Passion - recorded around the AAM's live performance at the Barbican Hall on the 300th anniversary of the first performance in 1719 - combines serious musicological and historical scholarship with vibrant musicianship and artistry.

Vaughan Williams: The Song of Love

From Albion, The Song of Love featuring songs by Ralph Vaughan Williams, with Kitty Whately, Roderick Williams and pianist William Vann. Albion is unique, treasured by Vaughan Williams devotees for rarely heard repertoire from the composer’s vast output, so don’t expect mass market commercial product. Albion recordings often highlight new perspectives.

A new recording of Henze’s Das Floß der Medusa

Henze’s Das Floß der Medusa is in some ways a work with a troubled and turbulent history. It is defined by the time in which it was written – 1968 – a period of student protest throughout central Europe. Its first performance was abandoned because the Hamburg chorus refused to perform under the Red Flag which had been placed on stage; and Henze himself decided he wouldn’t conduct it at all after police stormed the concert hall to remove protesters, among them the librettist Ernst Schnabel.

Berthold Goldschmidt: Beatrice Cenci, Bregenzer Festspiele

Berthold Goldschmidt’s Beatrice Cenci at last on DVD, from the Bregenzer Festspiele in 2018, with Johannes Debus conducting the Wiener Symphoniker, directed by Johannes Erath, and sung in German translation.

OPERA TODAY ARCHIVES »

Recordings

W. A. Mozart: Idomeneo
16 Nov 2006

MOZART: Idomeneo

After an apparently successful premiere in 1781, Mozart’s Idomeneo fell out of favor, not being revived in the composer’s lifetime and staying dormant in the 19th century and first half of the 20th.

W. A. Mozart: Idomeneo

Waldemar Kmentt, Werner Krenn, Lisa della Casa, Sena Jurinac, Reid Bunger, Manfred Jungwirth, Orchester und Chor der Wiener Staatsoper, Jaroslav Krombholc (cond.)

Ponto PO-1044 [2CDs]

$11.98  Click to buy

Surely this fate derives from the disfavor that any work in the “opera seria” form faced, with the greater popularity of earthy, vital Italian opera, especially verismo. Recent decades have seen a renewed appreciation for all of Mozart’s work, and a blossoming of singers who shine in early Classical repertory.

Thus today Idomeneo makes frequent appearances on opera stages, usually with a musical performance sensitive to the orchestral and vocal practices of Mozart’s era. This Ponto CD, however, from a Vienna Opera staging in 1971, offers a bold, passionate, unashamedly Romantic take on the score. Many passages call to mind the darker edges and fuller sound of later Mozart, especially the final symphonies, and the final choral outburst sounds as if came from an early draft of the Requiem.

Purists may balk, but this Idomeneo may make many a listener who had never warmed to the opera feel the heat radiated from a truly exciting performance. Jarosloav Krombholc may not be a household name, but his conducting is expertly paced and committed. Unfortunately, the recorded sound tends to approach distortion at loud climaxes, but those who appreciate the excitement of a good in-house recording will know that allowances must be made. And for once the inclusion of applause, quite lengthy at times, adds to the atmosphere rather than detracts from the musical impetus.

The male voices triumph, though once again, what might be called “inauthenticity”rears its handsome, if you will, head. In the title role, Waldemar Kmentt sings with the grand authority and furious power of a Verdi Otello, while still managing an admirable agility in the great show piece “Fuor del mar.”Andrew Palmer’s informative booklet essay confusingly claims that this performance features a soprano in the role of Idamante, almost always sung by a mezzo these days. Well, the biographical note after the short essay correctly identifies Werner Krenn as a tenor, and as Idamante. He does sound like a younger Kmentt, and yet he is distinctive enough to have his own vocal identity.

Though far more well-known that the two tenors, the two name female voices on this set make troublesome contributions. Caught late in her career for the role of the princess Ilia, Lisa della Casa sings laboriously much of the time, with frequent lapses in intonation at the top of her range. Moments recall the greatness she had possessed, but that may not mitigate the overall weakness of her singing for many listeners. Sena Jurinac, by comparison, sings better in the fiery role of Elettra, and the role can lend itself to a certain amount of less than beautiful singing. Jurinac makes some unpleasant sounds as the tessitura rises and the coloratura gets more ornate. Those raw moments aside, hers is an exciting performance.

Is this an Idomeneo for those who don't really care for Idomeneo? Possibly. But anyone who enjoys full-bodied Mozart and strong tenor singing should find this set most enjoyable listening.

Chris Mullins

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):