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Edouard Lalo (1823-92) is best known today for his instrumental works: the
Symphonie espagnole (which is, despite the title, a five-movement
violin concerto), the Symphony in G Minor, and perhaps some movements from his
ballet Namouna, a scintillating work that the young Debussy adored.
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.
27 Feb 2007
Rachmaninov and Glinka: Lieder • Songs • Chants
Originally released by Deutsche Grammophon in 1976, this recording of selected songs by Sergei
Rachmaninov (1873-1943) and Mikhail Glinka (1804-57) make available some fine examples of
Russian art song to Western audiences.
At that time the voice of Galina Vishnevskaya was known in
the West, notably in the famous recording of Benjamin Britten’s War Requiem. Yet this release shows
Vishnevskaya in her native mileu, with works that are quintessentially Russian, albeit separated by
seventy years, from the earliest songs by Glink to the latest ones by Rachmaninov.
At the mention of Russian art song, aural images of several pieces by Tchaikovsky or Mussorgsky
emerge, but the repertoire is much richer than that, with a tradition that antedates both composers and
extends beyond them. The famous “Vocalise” of Rachmaninov (op. 34, no. 14) is known in various
settings, and Vishnevskaya’s performance on this recording is a solid one that shows her burnished
timbre and elegant lyricism. This work brings to mind the modal inflections that are stylistically present in
the art songs of a number of Russian composers, albeit to varying degrees of emphasis. With the five
selections by Rachmaninov chosen for this recording, such modality supports the long melodic lines that
reinforce the texts. While Pushkin may be the most familiar of the poets for these selections, the other
verses show Rachmaninov’s sensitivity to texts that he found meaningful. “Ne poi, krassavica” op. 4,
no. 4 (translated here as “Oh, never sing to me again”) is a fine example of the kind of art song that
Rachmaninov pursued and which Vishnevskaya delivers well.
Yet the music of the earlier generation of Russian composers is not without interest, and the art songs of
Glinka call attention to the fine vocal music he composed. While Western audiences may know him for
the overture to Russlan and Ludmilla, the vocal writing in that opera and other works shows his
sensitivity to the declamation of Russian texts and an expressive line that transcends the literal texts. The
“Barkarola” (with an anonymous text) translates the Western form to a Russian and vocal idiom. In
another, “K nej,” (“To her”) Glinka sets the poetry of Polish writer Adam Mickiewicz, whose works
influenced others, including Gustav Mahler. While some of Glinka’s songs are relatively short, some of
the more sustained pieces, like “Somnenie” (translated here as “Doubt”) convey the sense of a dramatic
moment that a signer like Vishnevskaya can project well in live performances and also in recordings like
this. The eight selections of Glinka’s songs are well chosen, and the performances are convincing. With
a singer like Vishnevskaya accompanied by such a fine pianist as Mstislav Rostropovich, this recital of
Russian song (total duration, about forty-five minutes), not only captures the national style, but also the
intrinsically musical qualities of the music these performers chose to preserve in this recording.
Not previously released on CD, this recording was reissued to commemorate Vishnevskaya’s eightieth
birthday. The CD is a fine transfer of the recording, with fine sonics and the kind of ambiance that is
customary with Deutsche Grammophon. Those unfamiliar with Vishnevskaya’s voice should enjoy this
recital which shows the soprano at her prime, and individual who are familiar with the singer in operas
and other large-scale works will enjoy her more intimate performances in this song recital.
James L. Zychowicz