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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
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.
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
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.
09 Feb 2007
ARNE: Six cantatas for a voice and instruments; Advice to Cloe
The English, though fundamental to the early music revival of the last half-century, have been rather remiss in exploring their native music dating from after the death of Purcell, and particularly that produced after the death of Handel.
The later eighteenth century was a period in
which the wealth of London attracted composers and performers too numerous to mention from
all over Europe. The stature of Haydn and Mozart has tended to obscure the great variety of vocal
and instrumental music enjoyed at the time, more conservative in idiom, less virtuoso, but
English music for the stage has always tended more to the comic, the witty song delivered with
an actor’s panache rather than a singer's bravura. The most durable productions of the musical
theater, the operettas of librettist Gilbert and composer Sullivan, are memorable not because of
the elevated heights they reach, but because of the completely English good humor they transmit.
It will take a Savoyard approach to revive the neglected works from the age of Thomas Arne, and
the pleasure gardens of Vauxhall and Ranelagh.
This disc, from American tenor Timothy Bentch and Hungarian soprano Mária Zadori, is a
premiere recording of a charming set of cantatas by Thomas Augustine Arne published by Walsh
in 1755, and fully scored for voice accompanied by strings and winds. The texts evoke the world
of the wealthy rake of the period, who believes in women and wine (School of Anacreon),
gathering rosebuds while ye may (Delia), winning a women's heart by plying her with wine
(Bacchus and Ariadne), revenging himself on a faithless lover by being faithless himself with
another (Lydia), and sleeping only after he is incapable of drinking more (Frolick and Free).
Indeed, this rake is a complete hellraiser and rapscallion — one might almost title these Six
Tenor Timothy Bentch does an excellent job of evoking the license and liberty of the wealthy
Londoner. His attractive tone is always in the service of the expression of the text, changing in
color and force as the poetry requires, reflecting the shifting moods of the speaker. Bentch is a
compellingly persuasive performer. I was less taken by soprano Mária Zadori, who has had a
long career with many recordings for Hungaroton. Her light soprano is verging on the fluttery,
and her English diction is flawed. The contributions of the Hungarian period-instrument band are
first rate, and the sound is fine.
A valuable disc, presenting important and little-known repertoire, with a tenor we will certainly
be hearing more from. Warmly recommended.