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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.
14 Feb 2007
SAMMARTINI: Della Passione di Gesú Cristo; L'addolorata Divina Madre.
Giovanni Battista Sammartini (c.1700-1775) belongs to that shadowy generation of Italian composers who no longer composed in the high Baroque style, but had adopted the clarity, simplicity and regularity that would serve as the building blocks for the Viennese masters of the late eighteenth century, and thus were tagged with the rather pejorative label “pre-classic” (a plague on all those music historians who can only see musical style in terms of progress leading to their particular figure of veneration!).
The virtue of this disc, and of similar explorations into
neglected repertoire, is that it gives the listener the chance to make his own judgments about style
and historical inevitability, without having to peruse rare scores in some dusty library corner.
These works, from the late 1750s, have nothing to do with those remnants of the baroque which
J.S. Bach was still raking over ten years earlier, but are the music of the future — one can see
why J.C. Bach chose to travel to Sammartini's Milan at exactly this time (he spent the years
1755-1762 there, arriving, as the New Grove discreetly puts it "possibly in the company of an
Italian lady singer"). The content of these two cantatas would likely have horrified Bach senior
— operatic conversations between St. Peter (a soprano), St. John (contralto) and even odder, St.
Maria Magdalene as a tenor, in the first cantata, and between three Marys (Mary Magdalene,
Mary of Cleophas, Mary Salome — the two half-sisters of the Virgin) in the second.
Listening to these works one indeed sees how much Mozart and the Viennese were in debt to the
music of Sammartini and his contemporaries, both in the instrumental symphonies which open
the works, and in the arias. Unfortunately Ferrari's recording is not the most congenial manner in
which to get to know these works. Soprano Silvia Mapelli is worthy of praise, with a light, lyric,
feminine soprano, well-tuned, attractive, and musical. Her colleagues, alas, are not at this level.
Bulgarian mezzo Miroslava Yordanova has an aggressive production which is practically a shout,
particularly in the anti-Semitic aria given to St. John in the Passione; if I heard that sound in the
street I would run the other way. Giorgio Tiboni has an over-bright tenor, like a blaring cornet —
all brilliance, with no warmth and no subtlety of inflection. These two weary the ear. The
orchestra is competent.
A disc of historical, but not of esthetic, interest.