Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Recordings

A Verlaine Songbook

Back in the LP days, if a singer wanted to show some sophistication, s/he sometimes put out an album of songs by famous composers set to the poems of one poet: for example, Phyllis Curtin’s much-admired 1964 disc of Debussy and Fauré songs to poems by Verlaine, with pianist Ryan Edwards (available now as a CD from VAI).

Giovanni Simon Mayr: Medea in Corinto

The Bavarian-born Johann Simon Mayr (1763–1845) trained and made his career in Italy and thus ended up calling himself Giovanni Simone Mayr, or simply G. S. Mayr. He is best known for having been composition teacher to Giuseppe Donizetti.

Matthias Goerne: Bach Cantatas for Bass

In this new release for Harmonia Mundi, German baritone Matthias Goerne presents us with two gems of Bach’s cantata repertoire, with the texts of both BWV 56 and 82 exploring one’s sense of hope in death.  Goerne adeptly interprets the paradoxical combination of hope and despair that underpins these works, deploying a graceful lyricism alongside a richer, darker bass register.

Gramophone Award Winner — Matthias Goerne Brahms Vier ernste Gesänge

Winner of the 2017 Gramophone Awards, vocal category - Matthias Goerne and Christoph Eschenbach - Johannes Brahms Vier ernste Gesänge and other Brahms Lieder. Here is why ! An exceptional recording, probably a new benchmark.

Véronique Gens: Visions from Grand Opéra

Ravishing : Visions, Véronique Gens in a glorious new recording of French operatic gems, with Hervé Niquet conducting the Münchener Rundfunkorchester. This disc is a companion piece to Néère, where Gens sang familiar Duparc, Hahn, and Chausson mélodies.

John Joubert's Jane Eyre

Librettists have long mined the literature shelves for narratives that are ripe for musico-dramatic embodiment. On the whole, it’s the short stories and poems - The Turn of the Screw, Eugene Onegin or Death in Venice, for example - that best lend themselves to operatic adaptation.

Through Life and Love: Louise Alder sings Strauss

Soprano Louise Alder has had an eventful few months. Declared ‘Young Singer of the Year’ at the 2017 International Opera Awards in May, the following month she won the Dame Joan Sutherland Audience Prize at the BBC Cardiff Singer of the World.

A Master Baritone in Recital: Sesto Bruscantini, 1981

This is the only disc ever devoted to the art of Sesto Bruscantini (1919–2003). Record collectors value his performance of major baritone roles, especially comic but also serious ones, on many complete opera recordings, such as Il barbiere di Siviglia (with Victoria de los Angeles). He continued to perform at major houses until at least 1985 and even recorded Mozart's Don Alfonso in 1991, when he was 72.

Emalie Savoy: A Portrait

Since 1952, the ARD—the organization of German radio stations—has run an annual competition for young musicians. Winners have included Jessye Norman, Maurice André, Heinz Holliger, and Mitsuko Uchida. Starting in 2015, the CD firm GENUIN has offered, as a separate award, the chance for one of the prize winners to make a CD that can serve as a kind of calling card to the larger musical and music-loving world. In 2016, the second such CD award was given to the Aris Quartett (second-prize winner in the “string quartet” category).

Detlev Glanert : Requiem for Hieronymus Bosch

Detlev Glanert's Requiem for Hieronymus Bosch should be a huge hit. Just as Carl Orff's Carmina Burana appeals to audiences who don't listen to early music (or even to much classical music), Glanert's Requiem for Hieronymus Bosch has all the elements for instant popular success.

A Falstaff Opera in Shakespeare’s Words: Sir John in Love

Only one Shakespeare play has resulted in three operas that get performed today (whether internationally or primarily in one language-region). Perhaps surprisingly, the play in question is a comedy that is sometimes considered a lesser work by the Bard: The Merry Wives of Windsor.

A Resplendent Régine Crespin in Tosca

There have to be special reasons to release a monophonic live recording of a much-recorded opera. Often it can give us the opportunity to hear a singer in a major role that he or she never recorded commercially—or did record on some later occasion, when the voice was no longer fresh. Often a live recording catches the dramatic flow better than certain studio recordings that may be more perfect technically.

Karine Deshayes’s Astonishing New Rossini Recording

Critic and scholar John Barker has several times complained, in the pages of American Record Guide, about Baroque vocal recitals that add instrumental works or movements as supposed relief or (as he nicely calls them) “spacers.”

Knappertsbusch’s Only Recording of Lohengrin Released for the First Time

Hans Knappertsbusch was one of the most renowned Wagner conductors who ever lived. His recordings of Parsifal, especially, are near-legendary among confirmed Wagnerians.

Kathleen Ferrier Remembered

Kathleen Ferrier Remembered, from SOMM Recordings, makes available on CD archive broadcasts of British and German song. All come from BBC broadcasts made between 1947 and 1952. Of the 26 tracks in this collection, 19 are "new", not having been commercially released. The remaining seven have been remastered by sound restoration engineer Ted Kendall. Something here even for those who already own the complete recordings.

Color and Drama in Two Choral Requiems from Post-Napoleonic France

The Requiem text has brought out the best in many composers. Requiem settings by Mozart, Verdi, and Fauré are among the most beloved works among singers and listeners alike, and there are equally wondrous settings by Berlioz and Duruflé, as well as composers from before 1750, notably Jean Gilles.

Matthias Goerne - late Schumann songs, revealed

Matthias Goerne Schumann Lieder, with Markus Hinterhäuser, a new recording from Harmonia Mundi. Singers, especially baritones, often come into their prime as they approach 50, and Goerne, who has been a star since his 20's is now formidably impressive. The colours in his voice have matured, with even greater richness and depth than before.

LALO and COQUARD: La Jacquerie

La Jacquerie—here recorded for the first time—proves to be a wonderful opera, bringing delight upon delight.

Urania Remasters Marriage of Figaro

Good news for lovers of Mozart’s Marriage of Figaro: the famous Living Stereo recording, a co-production of RCA Victor and English Decca, is now available again, well remastered, on Urania.

Opera Rara: new recording of Bellini's Adelson e Salvini

In May 2016, Opera Rara gave Bellini aficionados a treat when they gave a concert performance of Vincenzo Bellini’s first opera, Adelson e Salvini, at the Barbican Hall. The preceding week had been spent in the BBC’s Maida Vale Studios, and this recording, released last month, is a very welcome addition to Opera Rara’s bel canto catalogue.

OPERA TODAY ARCHIVES »

Recordings

Gioachino Rossini: II barbiere di Siviglia
23 Dec 2006

ROSSINI: Il barbeire di Siviglia

Rossini’s comic masterpiece premiered in 1816, which means a big anniversary lies just a few years ahead.

Gioachino Rossini: II barbiere di Siviglia

Joyce DiDonato, Roberto Sacca, Dalibor Jenis, Carlos Chausson, Kristinn Sigmundsson, Orchestre et Choeurs de l'Opera National de Paris, Bruno Campanella (cond.)

TDK DVWW-OPBARB [DVD]

$28.49  Click to buy

But with an evergreen crowd-pleaser such as Il barbeire di Siviglia, companies won’t wait to put on new productions. San Francisco Opera debuted its revolving house set in recent years, and the Metroplitan just inaugurated a new production, favorably reviewed, this season. TDK now releases a 2002 staging from the Paris Opera, directed by Coline Serreau and designed by Jean-Marc Stehlè and Antoine Fontaine.

Under the creators’ conception, the Seville of the story remains under Moorish rule. In fact, the city seems to have been transplanted to a North African desert. Arab nomads accompany the Count as he walks through a desert landscape to serenade Rosina outside Dr. Bartolo’s stone and wood dwelling. Later, the interior of Bartolo’s home brings some welcome color, of turquiose and then gold. The final tableaux has the happy young lovers wandering off into an oasis of sprouting palm trees.

Why? Perhaps just because it looks cool. At least the creators had the good sense not to make the Count a European who rescues Rosina from her oppressive Arab master, which would have been a troublesome interpretation in this day and age. However, they have made Figaro a ridiculuously anachronistic figure, with a beach-umbrella hat and cell phones of various colors hooked to his sleeve. In other words, don’t think about it. Just enjoy the show.

The show can best be enjoyed once Joyce DiDonato’s Rosina appears. An appealing stage presence, DiDonato in her short career has already made her Rosina a classic interpretation: lively, clever, and always beautifully sung. The only singer near her class here is Kristinn Sigmundson, whose handsome bass makes Don Basillio a more appealing figure than usual.

The three other major male roles get adequate performances, not much more. Roberto Sacca’s Almaviva has the right energy but the tone isn’t especially attractive. Dalibor Jenis needs to expend a more energy in a role such as Figaro if he is going to deserve having the opera’s title. As Bartolo, Carlos Chausson does well by the character’s comic villainy; once again, the voice is nothing special.

Jeanette Fischer, the Berta, throws a few wild “hip-hop” moves in her very funny solo number.

Bruno Campanella conducts the score with the kind of affection that matters — an appreciation for Rossini’s orchestral color and flexibility.

With a cast that could match DiDonato’s inspiration, this DVD would be a must-see. As it is, lovers of this opera can still find much to enjoy, including an amusing credit sequence (under the overture) . And perhaps a helpful Opera Today reader can explain to this reviewer why, when Figaro schemes to get the house key from Dr. Bartolo, the subtitle has him wishfully thinking that with the key, “We’d be home and hosed.”

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):