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A Prize-Winning Rediscovery from 1840s Paris (and 1830s Egypt)

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. In recent days,

Félicien David: Songs for voice and piano

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” with herself!).

John Taverner: Missa Corona spinea

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.

“Nessun Dorma — The Puccini Album”

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.

Honegger: Jeanne d’Arc au bûcher

Marion Cotillard and Marc Soustrot bring the drama to the sweeping score of Arthur Honegger’s Jeanne dArc au bûcher, an adaptation of the Trial of Joan of Arc

Far in the Heavens — Choral Music of Stephen Paulus

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.

Review: You Promised Me Everything

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’.

Donizetti: Les Martyrs

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.

Green: Mélodies françaises sur des poèmes de Verlaine

Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and twentieth-century France

A worthy tribute for a vocal seductress of the ancient régime

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.

Schubert’s Winterreise by Matthias Goerne

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.

Gluck: Orfeo ed Euridice

This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.

Die Entführung aus dem Serail @ Hangar-7

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: Notturno

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 Sings Mahler Lieder

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.

Gergiev’s Das Rheingold

Das Rheingold launches what is perhaps the single most ambitious project in opera, Richard Wagner’s Der Ring des Nibelungen

Hänsel und Gretel

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.

Magdalena Kožená: Love and Longing

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 Magdalena Kožená.

Once I was: Songs by Ricky Ian Gordon

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.

Amore e Tormento

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.’ 



W. A. Mozart: Così fan tutte
10 Jan 2007

MOZART: Così fan tutte

The booklet essay by Gottfried Kraus (translated from the German by Stewart Spencer) for this TDK release of the 1983 Salzburg Così fan tutte presents an intriguing history of the opera, with the Austrian festival taking in a central role in the work’s return to the standard repertory.

W. A. Mozart: Così fan tutte

Kathleen Battle, Margaret Marshall, James Morris, Ann Murray, Francisco Araiza, Sesto Bruscantini, Vienna Philharmonic Orchestra, Vienna State Opera Chorus Konzertvereinigung, Riccardo Muti (cond.)


$37.98  Click to buy

Kraus also suggests that this 1983 production turned out to be the last truly successful one in Salzburg, without detailing why Così fan tuttes since then have failed to find success in his eyes.

Michael Hampe’s handsome production moves quickly, with a white curtain descending for scene changes in acts during recitatives. The muted colors, detailed costumes, and tasteful furnishings give a sense of realism to the goings-on — not necessarily a good thing for this opera with its plot of two sisters in love with two men whom they are unable to recognize when they appear under disguise, to test the women’s virtue in a gambit proposed by the elder, cynical Don Alfonso. However, it is also best not to ham up the comic aspects, as the emotional repercussions of the stupid game begin to cut deeply in act two. Hampe directs intelligently, keeping each moment true to that scene’s shade of the story’s shifting tones (sets and costumes are by Mauro Pagano).

TDK has chosen as its star the conductor, Riccardo Muti. He has a large cover shot on the case, another on the rear (the men are only seen in their “Albanian” disguise, and the Don and Despina the maid, not at all). Open the booklet, and there is Muti again, looking handsome and vaguely satanic, all in black amongst the brilliant red seats of the auditorium. The brisk, emphatic overture reveals the maestro in full control. There may be more tender Mozart, or more majestic, but for detail and precision, Muti is hard to beat.

The cast lacks star glamour, but certainly not talent. The sisters receive strong portrayals from Margaret Marshall (Fiordiligi) and Ann Murray (Dorabella). Each captures the essence of her role (Fiordiligi’s wavering pride and Dorabella’s sensual flightiness). However, a more sumptuous soprano could bring more to Fiordiligi’s music, and as Dorabella, Murray’s dark instrument lays on a certain heaviness.

The “boys” are a youthful, strong James Morris (Guglielmo) and the dependable lyric tenor Francisco Araiza. Morris’s second act solo scene earns him the strongest ovation of the night.

Veteran Sesto Bruscantini so far underplays his character’s cynicism and misanthropy that it becomes unclear why he bothers with his nasty little ploy. At least he does not growl his way through the role, as has been known to happen. And stealing the show every time she appears, Kathleen Battle’s Despina sings and act with charm and wit and most gratefully, allows us a few moments away from the opera’s claustrophobic focus on its leads.

So as essay writer Gottfried Kraus suggests, this traditional production has classical elegance. For those looking for a more contemporary approach, check out the recent Berlin production set in the Swinging Sixties.

Chris Mullins

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