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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.
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.
With celebrations of the Verdi Bicentennial in full swing, there have been
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.
Few operas inspire the kind of competing affection and controversy that have surrounded Mozart’s Così fan tutte almost since its first performance in Vienna in 1790.
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.
Known principally for its two concert show-pieces for the leading lady, the success of Francesco Cilea’s Adriana Lecouvreur relies upon finding a soprano willing to take on, and able to pull off, the eponymous role.
10 Nov 2006
VIVALDI: Sacred Music 2
A recording of the complete sacred music of Antonio Vivaldi is a welcome prospect, not least because it offers an opportunity to go beyond the fame and familiarity of Vivaldi’s concertos and the ubiquitous “Gloria.”
And with the
second volume in this complete series from Naxos, the Canadian Aradia Ensemble
under the direction of Kevin Mallon, with soprano Tracy Smith Bessette and
contralto Marion Newman present a cohesive program of solo works.
Some of the music is sublime: the opening stanza of the Stabat Mater,
for instance, with its expressive use of chromaticism, augmented-sixth
harmony, and sumptious sequences is memorable by any standards. Other works,
by contrast, fail the memorability test--the “Alleluia” to “Canta in prato,,”
for instance, never rises above the pedestrian--but in a recording of the
complete sacred works, the mighty must be taken along with the meek.
The performances, like the music itself, are also uneven. Both soloists
execute Vivaldi’s florid writing—writing that Denis Arnold long ago aptly
likened to Vivaldi’s violinistic passage work—with confidence, although the
vibrancy and fullness of their tones makes it seem like hard work. Smith
Bessette’s gentler passages, like the “Sit nomen” from “Laudate pueri” are
more successful, for here she can bring her attractive warmth of sound to the
fore. Elsewhere the extent of her vibrato creates stylistic issues,
particularly where the vibrato on weak syllables in a “strong-weak” pattern
subverts the rhythmic contour, as in the “Excelsus super” in “Laudate pueri.”
Newman’s tone is beautifully rich. However, the richness occasionally detracts
from the contours of Vivaldi’s sinewy lines, as in the opening of “Stabat
Mater.” For many, I suspect, the touchstone performance of the “Stabat Mater”
remains James Bowman’s with Christopher Hogwood and the Academy of Ancient
Musick (L’Oiseau-Lyre 414 329 2), a performance difficult to rival in terms of
sheer sonic beauty. In referencing the earlier recording an important contrast
emerges: that between female alto and male countertenor. Generalizations are
both difficult and unwise—falsettists and “contraltos” come in all sizes and
shapes and make a wide variety of sounds. In this particular case, however,
the contrast is between a rich female timbre, sometimes in an awkwardly low
register, and a highly focused, lean, vowel-rich falsetto sound. The clarity
of the line and its contours seem advantageously served by the latter.
The Aradia Ensemble is an orchestra that plays with a fine sense of historical
style. However, too often here one seems to want more . . . more
rhythmic exhilaration in those passages of typical Vivaldi drive, and more
extravagant tone in sensuous passages. In the final reckoning this is a
recording perhaps more welcome for presenting the repertory than for the
actual renditions themselves. The performances are competent and more,
certainly, but rarely are they distinctively compelling.