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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
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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
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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.
07 Jan 2007
Decca loves to repackage this set. Your reviewer first acquired it as a low-price "Double Decca" release, with no libretto. Just a couple years ago saw another incarnation, with a great cover pic of Price and Karajan locked in an embrace - Karajan as Scarpia? Or Cavaradossi - take one's pick.
Now under the double sobriquet "Legendary recordings - The originals" comes a remastering, with the original cover art restored. The sound effects come across as vividly as ever, including hands down the best cannon-shot accompaniment to Scarpia's act one closer. In headphones, the channel-switching from line-to-line could be more subtle; otherwise, the recording has a clarity and presence that fully complement the dramatic reading of the score.
Of course, for studio recordings of Tosca, the appellation "benchmark" invariably goes to the early 50s set with Callas, di Stefano in his prime, and Gobbi under Victor de Sabata. But greatness in recordings need not be a zero-sum game - and this Decca set very much has its own strengths. Your reviewer can't say one set is better than the other - they are both tremendous.
Callas, of course, portrays a Tosca on the edge - as fierce in her love for Cavaradossi as she is passionate in her desperation before Scarpia. With Price, one has a Floria whose incomparable tonal beauty in act one tilts the drama, effectively, toward the perspective of a tragically doomed love affair. When she sings of the little house she wants to share with Cavaradossi, Price's security and creaminess have no equal; the sense of an erotic idyll conveyed here haunts the memory when much later Cavaradossi in despair also recalls their meetings. Similarly, "Vissi d'arte" does not get pulled and huffed to underline the drama of the moment - Price understands that the music can speak for itself. Her performance has no rivals for sheer gorgeousness.
Di Stefano had come through some rough years by 1963, and he responds to Karajan's confidence in him by providing one final great performance. Yes, the freshness that marks his performance 10 years earlier has gone. In its place a new depth, a rough-edged heroism appears. From the second act onward, at any rate, Cavaradossi is a man who has been tortured and faces death. A little hoarseness should be expected. The core quality of di Stefano's great instrument still comes through.
And what a Scarpia this set has - Giuseppe Taddei, in total command of every vocal aspect of the role, and riding the creepy slow-pace Karajan sets for the "Te deum" section with ominous power. As with the comparison of Price to Callas, we have with Taddei, as opposed to the undeniably great Tito Gobbi on the earlier set, a singer who lets his impeccable performance of the music itself provide the drama. From wicked enjoyment in his own cruelty to the silky murmurings of a smooth seducer, Taddei's Scarpia finds all the characterization necessary in the glory of Puccini's writing.
The Vienna Philharmonic roars and purrs under Karajan's leadership like a barely domesticated lion. As is not unknown with Karajan, a sense of manipulation lies just behind the amazing display of conducting craftsmanship, but why fight the maestro? Give in.
Whether those who already own this set need the remastering must be a personal decision. But for lovers of this opera who do not know this recording - get it. It makes its own case for greatness, all comparisons aside.