Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.







Recently in Recordings

Les Funérailles Royales de Louis XIV recreated at Versailles

Les Funérailles Royales de Louis XIV, with Ensemble Pygmalion, conducted by Raphaël Pichon now on DVD/Blu -ray from Harmonia Mundi. This captures the historic performance at the Chapelle Royale de Versailles in November 2015, on the 300th anniversary of the King's death.

Tenebræ Responsories
recording by Stile Antico

Tomas Luis de Victoria’s Tenebrae Responsories are designed to occupy the final three days of Holy Week, and contemplate the themes of loss, betrayal and death that dominate the Easter week. As such, the Responsories demand a sense of darkness, reflection and depth that this new recording by Stile Antico - at least partially - captures.

Mahler Symphony no 9, Daniel Harding SRSO

Mahler Symphony no 9 in D major, with Daniel Harding conducting the Swedish Radio Symphony Orchestra, new from Harmonia Mundi. A rewarding performance on many levels, not least because it's thoughtfully sculpted, connecting structure to meaning.

A Splendid Italian Spoken-Dialogue Opera: De Giosa’s Don Checco

Never heard of Nicola De Giosa (1819-85), a composer who was born in Bari (a town on the Adriatic, near the heel of Italy), but who spent most of his career in Naples? Me, neither!

Winterreise by Mark Padmore

Schubert's Winterreise is almost certainly the most performed Lieder cycle in the repertoire. Thousands of performances and hundreds of recordings ! But Mark Padmore and Kristian Bezuidenhout's recording for Harmonia Mundi is proof of concept that the better the music the more it lends itself to re-discovery and endless revelation.

The Epic of Gilgamesh - Bohuslav Martinů

New recording of the English version of Bohuslav Martinů's The Epic of Gilgamesh, from Supraphon, the Czech Philharmonic Orchestra conducted by Manfred Honeck. This is the world premiere recording of the text in English, the original language in which it was written.

Maybe the Best L’heure espagnole Yet

The new recording, from Munich, has features in common with one from Stuttgart that I greatly enjoyed and reviewed here: the singers are all native French-speakers, the orchestra is associated with a German radio channel, we are hearing an actual performance (or in this case an edited version from several performances, in April 2016), and the recording is released by the orchestra itself or its institutional parent.

Stéphanie d’Oustrac in Two Exotic Masterpieces by Maurice Ravel

The two works on this CD make an apt and welcome pair. First we have Ravel’s sumptuous three-song cycle about the mysteries of love and fantasies of exotic lands. Then we have his one-act opera that takes place in a land that, to French people at the time, was beckoningly exotic, and whose title might be freely translated “The Nutty and Delightful Things That Can Happen in Spain in Just One Hour”.

Stefano Secco: Crescendo

I had never heard of Stefano Secco before receiving this CD. But I see that, at age 34, he already has had a substantial career, singing major roles at important houses throughout Europe and, while I was not paying attention, occasionally in the US.

French orientalism : songs and arias, Sabine Devieilhe

Mirages : visions of the exotic East, a selection of French opera arias and songs from Sabine Devieilhe, with Alexandre Tharaud and Les Siècles conducted by François-Xavier Roth, new from Erato

Hans Werner Henze Choral Music

Hans Werner Henze works for mixed voice and chamber orchestra with SWR Vokalensemble and Ensemble Modern, conducted by Marcus Creed. Welcome new recordings of important pieces like Lieder von einer Insel (1964), Orpheus Behind the Wire (1984) plus Fünf Madrigale (1947).

Bettina Smith, Norwegian Mezzo, in Songs by Fauré and Debussy

Here are five complete song sets by two of the greatest masters of French song. The performers are highly competent. I should have known, given the rave reviews that their 2015 recording of modern Norwegian songs received.

Étienne-Nicolas Méhul: Uthal

The opera world barely knows how to handle works that have significant amounts of spoken dialogue. Conductors and stage directors will often trim the dialogue to a bare minimum (Magic Flute), have it rendered as sung recitative (Carmen), or have it spoken in the vernacular though the sung numbers may often be performed in the original language (Die Fledermaus).

A New Anna Moffo?: The Debut Disc of Aida Garifullina

Here is the latest CD from a major label promoting a major new soprano. Aida Garifullina is utterly remarkable: a lyric soprano who also can handle coloratura with ease. Her tone has a constant shimmer, with a touch of quick, narrow vibrato even on short notes.

Il sogno di Scipione: a new recording from Classical Opera

With this recording of Mozart’s 1771 opera, Il sogno di Scipione (Sicpio’s Dream), Classical Opera continue their progress through the adolescent composer’s precocious achievements and take another step towards the fulfilment of their complete Mozart opera series for Signum Classics.

Mozart’s Requiem: Pierre-Henri Dutron Edition

The stories surrounding Mozart’s Requiem are well-known. Dominated by the work in the final days of his life, Mozart claimed that he composed the Requiem for himself (Landon, 153), rather than for the wealthy Count Walsegg’s wife, the man who had commissioned it in July 1791.

Schumann and Mahler Lieder : Florian Boesch

Schumann and Mahler Lieder with Florian Boesch and Malcolm Martineau, now out from Linn Records, following their recent Schubert Winterreise on Hyperion. From Boesch and Martineau, excellence is the norm. But their Mahler Lieder eines fahrenden Gesellen takes excellence to even greater levels

Hans Werner Henze : Kammermusik 1958

"....In lieblicher Bläue". Landmark new recordings of Hans Werner Henze Neue Volkslieder und Hirtengesänge and Kammermusik 1958 from the Scharoun Ensemble Berlin, with Andrew Staples, Markus Weidmann, Jürgen Ruck and Daniel Harding.

Elder conducts Lohengrin

There have been dozens of capable, and more than capable, recordings of Lohengrin. Among the most-often praised are the Sawallisch/Bayreuth (1962), Kempe (1963), Solti (1985), and Abbado (1991). Recording a major Wagner opera involves heavy costs that a record company may be unable to recoup.

Premiere Recording: Mayr’s Telemaco nell’isola di Calipso (1797)

No sooner had I drafted my review of Simon Mayr’s Medea in Corinto,



Vicente Martin y Soler: La Madrilena
21 Jan 2007

MARTIN Y SOLER: La Madrilena

Although the name of Vicente Martin y Soler is no longer obscure, most opera lovers still know him best due to Mozart quoting his opera ‘Una cosa rara’ during the Don’s last meal in Don Giovanni.

Vicente Martin y Soler: La Madrilena

Olga Pitarch (Violante), Miquel Ramon (Pipo), Antoni Aragon (Caballero), Patricia Lorens (Menica), Santiago Santana (Fabricio),Ricardo Sanjuan (Anselmo), Capella de ministrers conducted by Carles Magraner

Dahiz Productions CDM 0410 [CD]

$17.99  Click to buy

Martin y Soler was a Valencian who as a child heard the exciting news that this magnificent city once more had a theatre thanks to the king. Some years before his birth the archbishop had pulled the theatre down, believing that the immorality of some plays was responsible for earthquakes sent by god as punishment. As a young man the future composer experienced the visit to the theatre by such luminaries as Piccinni, Gallupi an Boccherini. Martin y Soler started composing operas at an early age. Up to now nothing has been found of his first opera ‘I due avari’, but the score of his first three-act opera ‘Il tuttore burlato’ still can be found in the Bibliotheca Historica of Madrid. The composer was only twenty at the time of its première in the capital. The libretto as was usual is in Italian and so were the singers. Three years later an impresario reworked the score, had the Italian text changed into Spanish and replaced the recitatives by spoken dialogue. The new title became ‘La Madrilena’ and the opera was transformed into a zarzuela. (Vice versa was possible too: Emilio Arrieta’s most successful zarzuela ‘Marina’ was changed into an opera). Lovers of the genre should pay a little attention however and look at the dates. There is nothing in the music resembling the romantic scores of Chapi, Chueca, Barbieri, Valverde and other masters of the well known romantic zarzuelas of the 19th century.

This is still a rococo score and as can be expected the music by such an inexperienced maestro is pleasing though not very original. One is somewhat reminded of the not very scintillating works of very young Mozart like ‘La finta semplice’ or ‘Mitridate’; one aria following another one with a few ensembles thrown in for good measure. The singers of this recording too are probably adapt in singing young Mozart as the modern custom requires white, small and even sexless voices. Olga Pitarch is a charming though impersonal Violante. Antoni Aragon employs the same small sound. Tenor (?) Ricardo Sanjuan is almost voiceless and would never be acceptable in roles like Ruiz or Gastone. Only baritone Miquel Ramon in the important role of Pipo shows natural vocal talent. Carlos Magraner and the ‘Capella de ministrers’ are the best of the lot thanks to his lively though not hurrying conducting that avoids boredom in this immature work.

Jan Neckers

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):