Recently in Recordings
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.
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
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.
07 Jan 2007
The cover art for the Opus Arts DVD of Wagner's Siegfried, from the Nederlandse Opera in 1999, features Mime, as impersonated by Graham Clark, in amazing make-up and costume: a bald, bulging head almost split down the middle by a furrow of anxiety, and clad in a ghastly green insect-like carapace, including wire-like hair and a bobbing tail-sack.
But that alone doesn't make Clark's Mime worthy of the cover - he simply dominates the performance due to both his own inimitable energy and commitment, and also, unfortunately, due to the lesser success of his colleagues.
Pierre Audi's production, with designs by George Tsypin, can't really be defined by locale or time period. The innovation here is a ramp between the audience and the orchestra, corralled into a modified pit and nearly always visible behind the singers, the musicians' score desks' lights making an eerie backdrop. The conventional stage area comes into play only for a few key moments, such as the awakenings of Fafner and Brunhillde (neither particularly well-staged). Singing on the ramp, before the orchestra, may have had some advantages for the singers. This DVD has refreshingly realistic sound, and all the singers at least seem capable of delivering their individual role's requirements.
Don't expect much more, however. Heinz Kruse takes on the notoriously difficult title role, and vocally, he does a decent job. His tone lacks the heroic glamour Wagner probably wished, and there are times in act one where there seem to be two Mime's on the stage. Out of respect for Kruse's capable performance, your reviewer will not belabor the fact that as a stage presence he is decidedly not the handsome young hero of the libretto.
The cycle's Wotan, John Bröcheler, makes his way through the role without touching any of the many veins of this complex character: tragic, lustful, bombastic, visionary. The final confrontation between the hero Wotan wanted to save his world, and Wotan himself, realizing his world is beyond salvation, is twice-injured: by the singers' lack of inspiration and the clumsy depiction of the spear (here a sort of metal pole hanging from who knows where).
One risky but successful venture has the Forest Bird sung and performed by a boy soprano, Stefan Pangratz. The intonation issues that usually plague such young singers are thankfully absent, and he makes an appealing figure in his brief time on stage. Henk Smit's Alberich, Carsten Stabell's Fafner, and Anne Gjevang's Erda fill out the cast adequately.
And at opera's end, of course, Brunnhilde welcomes the sun (here an enormous bank of lights looking rather like an oversized tanning bed). A beautiful and affecting Sieglinde in the Boulez Walkure from Bayreuth, Jeannnine Altemeyer has the stage charisma to portray Wotan's rebellious daughter. Her passion and fear come across, but when the music asks for ecstasy at a higher level, the tone loses strength. The final duet becomes more a test of endurance, with both singers straining.
But Clark's odious Mime saves the show, clambering, scheming, scampering, and singing with wicked delight. The star of the show gets the cover, quite naturally.