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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.
28 Dec 2006
MUSSORGSKY: Boris Godunov
One of the best opera DVDs released in 2006 was the Salzburg La Traviata, with Rolando Villazon and Anna Netrebko able to make full use of their vocal charisma and acting skills in Willy Decker's sharp, sexy production.
Now TDK has released another fine Decker effort, Boris Godunov, with sets and costumes designed by John MacFarlane. Recorded in October 2004 at the Liceu in Barcelona, the staging displays all of Decker's strengths, from the preference for contemporary costumes and a spare set with a few well-chosen props to, most importantly, a great talent for dramatic, involving stage movement.
In a short pantomime as the opera begins, the son of Tsar Ivan, Dmitri, plays with a crown as he sits on the frame of a huge, over-turned golden chair. Three sinister men approach him, surround him, and leave his murdered body on the ground, as the chorus streams in from the rear to call for Boris to take the throne. That huge chair dominates the action in most scenes, carried in and out, sometimes with Boris astride it. Decker also uses painted images of Dmitri as a constant reminder of the guilt secret behind Boris's rise to power. Decker manages to employ these devices without making overt, symbolic statements - the images truly highlight the action, rather than simply interpret it. The resulting effect makes the drama all the more involving, where a more plush, traditional approach can distance some audiences from the story.
Matti Salminen surely deserves a showcase performance opportunity such as this opera provides. A strong, commanding bass, he is also an imposing stage presence, never overplaying but always finding the heart of each moment. The roar of respect and affection at his solo curtain call shows that the Barcelona audience knew what a great singer had just performed for them.
Among the more well-known members of the strong supporting cast, special commendation must go to the wonderfully slimy Shuisky of Philip Langridge, Eric Halfvarson's conflicted Pimen, and Brian Asawa's amazingly effective Fyodor (Boris's adolescent son). Tenor Pär Lindskog makes an impressive contribution as the Pretender who claims to be Dmitri.
The production uses Mussorgsky's first version, with no intermission. Conductor Sebastian Weigle revels in the raw power of the composer's scoring, sometimes letting it ride over the singers.
Decker takes the work seriously, as a story that resonates with a contemporary audience, and that may be the greatest tribute that can be paid to Mussorgsky's masterwork. Visually entrancing and nobly sung, this Boris Godunov also ranks as one of the best of 2006. And those who want more of Matti Salminen after viewing this DVD are urged to view his devastating work in Einojuhani Rautavaara's Rasputin, also available on DVD.