Receive articles and news via RSS feeds or email subscription.
Hans Zender's Schuberts Winterreise is now established in the canon, but this recording with Julian Prégardien and the Deutsche Radio Philharmonie conducted by Robert Reimer is one of the most striking. Proof that new work, like good wine, needs to settle and mature to reveal its riches.
“It produces Effects not only very delightful, but to such as know the contrivance, very wonderful; so that Spectators, not well versed in Opticks, that could see the various Apparitions and Disappearances, the Motions, Changes and Actions, that may this way be presented, would readily believe them super-natural and miraculous.”
From Hyperion, an excellent new Ralph Vaughan Williams A Sea Symphony with Martyn Brabbins conducting the BBC Symphony Orchestra and BBC Symphony Chorus, Elizabeth Llewellyn and Marcus Farnsworth soloists. This follows on from Brabbins’s highly acclaimed Vaughan Williams Symphony no 2 "London" in the rarely heard 1920 version.
The names of Belfast-born soprano Heather Harper and Kansas-born tenor James King may not resonate for younger music lovers, but they sure do for folks my age. Harper was the glowing, nimble soprano in Colin Davis’s renowned 1966 recording of Handel’s Messiah and in Davis’s top-flight recording (ca. 1978) of Britten’s Peter Grimes, featuring Jon Vickers.
Pride and Prejudice, North and South, Antony and Cleopatra, Much Ado About Nothing: literary fiction and drama are strewn with dissembling lovers who display differing degrees of Machiavellian sharpness in matters of amatory strategy. But, there is an artless ingenuousness about Bastien and Bastienne, the eponymous pastoral protagonists of Mozart’s 1768 opera, who pretend not to love in order to seal their shared romantic destiny, but who require a hefty dose of the ‘Magician’ Colas’s conjuring/charlatanry in order to avoid a future of lonely singledom.
In early October 1822, Gioachino Rossini summoned the librettist Gaetano Rossi to a villa (owned by his wife, the soprano Isabella Colbran) in Castenaso, just outside Bologna. Their project: to work on a new opera, which would be premiered during the Carnival in Venice on 3rd February the following year, based on the legend of Queen Semiramide.
Edward Elgar's Sea Pictures are extremely well-known, but many others are also worth hearing. From SOMM recordings, specialists in British repertoire, comes this interesting new collection of other Elgar orchestral songs, sponsored by the Elgar Society.
Mention ‘nineteenth-century English opera’ to most people, and they will immediately think ‘Gilbert and Sullivan’. If they really know their Gilbert and Sullivan, they’ll probably remember that Sullivan always wanted to compose more serious operas, but that Gilbert resisted this, believing they should ‘stick to their last’: light, comic, tuneful satire.
"Orpheus I am!" - An unusual but very well chosen collection of songs, arias and madrigals from the 17th century, featuring Julian Prégardien and Teatro del mondo. Devised by Andreas Küppers, this collection crosses boundaries demonstrating how Italian, German, French and English contemporaries responded to the legend of Orpheus and Eurydice.
We normally think of operas as being serious or comical. But a number of operas-some familiar, others forgotten-are neither of these. Instead, they are fantastical, dealing with such things as the fairy world and sorcerers, or with the world of dreams.
Here is a little-known opera that, like an opera by the Swedish composer Laci Boldemann that I have reviewed here, and like Ravel’s amazing L’enfant et les sortilèges‡, utterly bypasses the usual categories of comic and grand/tragic by cultivating instead the rich realm of fantasy and folk tale.
Majesté, a new recording by Le Poème Harmonique, led by Vincent Dumestre, of music by Michel-Richard de Lalande (1657-1726) new from Alpha Classics. Le Poème Harmonique are regular visitors to London, appreciated for the variety of their programes. On Friday this week, (11/5) they'll be at St John's Smith Square as part of the London Festival of Baroque, with a programme titled "At the World's Courts".
New from Harmonia Mundi, Perpetual Night. a superb recording of ayres and songs from the 17th century, by Ensemble Correspondances with Sébastien Daucé and Lucile Richardot. Ensemble Correspondances are among the foremost exponents of the music of Versailles and the French royalty, so it's good to hear them turn to the music of the Stuart court.
When I reviewed Tosca at Covent Garden in January this year for Opera Today, Maria Callas’s 1964 Royal Opera House performance was still fresh in my mind. This is a recording I have grown up with and which, despite its flaws, is one of the greatest operatic statements - a glorious production which Zeffirelli finally agreed to staging, etched in gothic black and white film (albeit just Act II), with Maria Callas and Tito Gobbi, if not always as vocally commanding as they once were, acting out their roles like no one has before, or since.
British music would not be where it is today without the influence of Charles Hubert Parry. His large choral and orchestral works are well known, and his Jerusalem is almost the national anthem. But in the centenary of his death, we can re-appraise his role in the birth of modern British song.
Saint-Saëns Mélodies avec orchestra with Yann Beuron and Tassis Christoyannis with the Orchestra della Svizzera Italiana conducted by Markus Poschner.
Les Funérailles Royales de Louis XIV, with Ensemble Pygmalion, conducted by Raphaël Pichon now on DVD/Blu -ray from Harmonia Mundi. This captures the historic performance at the Chapelle Royale de Versailles in November 2015, on the 300th anniversary of the King's death.
Tomas Luis de Victoria’s Tenebrae Responsories are designed to occupy the final three days of Holy Week, and contemplate the themes of loss, betrayal and death that dominate the Easter week. As such, the Responsories demand a sense of darkness, reflection and depth that this new recording by Stile Antico - at least partially - captures.
Mahler Symphony no 9 in D major, with Daniel Harding conducting the Swedish Radio Symphony Orchestra, new from Harmonia Mundi. A rewarding performance on many levels, not least because it's thoughtfully sculpted, connecting structure to meaning.
Never heard of Nicola De Giosa (1819-85), a composer who was born in Bari (a town on the Adriatic, near the heel of Italy), but who spent most of his career in Naples? Me, neither!
When Matilde di Shabran was premiered in Rome on Feb. 24, 1821, it was billed as a “melodrama giocoso” (which is the equivalent of an opera semiseria), somewhere between an opera buffa and an opera seria in character.
Such. opera semiserie generally have elements of both comedy and pathos. Matilde di Shabran, is unusual in that the pathos is mixed with some dramatic incidents, especially in Act II, but it also has quite a bit of buffoonery. It turned out to be the last light opera he wrote for Italy, although he did write two other such operas (Il viaggio a Rheims and Le Comte Ory) for France a few years later.
The libretto by Giacomo Ferretti was originally very long and complicated, and Rossini soon realized that he could not finish it in time. He turned to his friend, the composer Giovanni Pacini, for help, and Pacini composed something like six numbers. The version given in Rome also included some self-borrowings from earlier operas. Most of these were removed when the work was given in Naples on Jan.21, 1822. But one duet by Pacini apparently remained. This is the cabaletta to the duet between Matilde and Aliprando in Act I (track19—Ah di veder gia parmi), which Pacini later used in his opera Il Corsaro (Rome, 1831), where it was used as the stretta to a terzetto. This terzetto was recorded in its entirety by Opera Rara as part of their CD “Paventa insano”, which consists of excerpts from unusual Mercadante and Pacini works.
After Naples, where it was performed as Bellezza e cuor di ferro, Matilde was given all over Europe under one of its three titles (the third being Corradino). Outside Europe, it was produced in Brazil, Algeria, Mexico, and the U.S. (NYC on Feb. 10, 1834). It continued to be given regularly until around 1850. Florence, however, heard it as late as 1892, after which it disappeared for over 80 years. It’s first post-World War II revival was in Genoa in 1974, when the original 1821 version with Pacini’s additions was given. It vanished again, only to be heard in its revised version in Pesaro in 1996. Bruce Ford was originally scheduled to sing the tenor role, but withdrew, and was replaced by Juan Diego Florez, making an auspicious Italian debut. It was later given in Bad Wildbad, and then for a second time in Pesaro in 2004 with Florez again singing Corradino and Annick Massis as Matilde . It is this performance that is presented by Decca Classics.
The plot has some unusual aspects, featuring a different type of hero, Corradino, who is a combination of petty tyrant and mysoginist. Corradino starts out hating just about everybody, especially women and poets, but winds up getting the girl in the end. She is a bit of a spitfire, with a ready answer for everything. In the finale of Act I, she charms Corradino out of everything except his pants. Other characters include Isidoro, a wacky poet, Aliprando, the castle physician, and Edoardo, the son of Raimondo who owns a neighboring castle and is on bad terms with Corradin, as well as the Contessa d’Arco, who has designs on Corradino herself. The Contessa manages to throw suspicion on our heroine in Act II by claiming that she had freed Edoardo and producing a forged letter. Corradino believes the Countess, sentences Matilde to death by being thrown off a cliff into the raging torrent below, and orders Isidoro to do the dirty deed. Isidoro soon returns to announce that Matilde is dead, after which Edoardo relates that his jailer had been bribed by the Countess to loosen his bonds. Corradino is horrified at the thought of having put to death an innocent woman, when, surprise of surprises, she turns up, very much alive, and all ends well.
The libretto of the revised version has relatively few arias and duets, but an unusually high number of ensembles. Thus, there are four major ensembles: a quartet for male voices, a quintet, a sextet, and a lengthy finale to the second act. Even the “love duet” for Matilde and Corradino, which is a part of the first act finale, becomes a quartet since two of the other characters are hiding behind some columns, and comment on the action. The hero and heroine have only one aria between them, that being Matilde’s rondo finale. On the other hand, Eduardo has two arias (one in each act), Isidoro has one and Aliprando has an extended solo, with the participation of the chorus in the introduction. Corradino did have an aria in the Rome version, but that was removed for Naples since it was a self-borrowing from another Rossini opera.
Both of the principal artists should be fairly familiar to collectors of 19th century operas. Annick Massis has recorded La dame blanche for EMI, several works for Opera Rara, including Meyerbeer’s Margherita d’Anjou, and participated in the previously mentioned CD of Mercadante and Pacini rarities. Juan Diego Florez is the leading exponent of Rossini’s light roles of the day, having also recorded Le Comte Ory and a DVD of the Barber of Seville, as well as several aria recitals. He is regarded by some as the finest tenore leggero of the recorded era, and is gifted with a brilliant top and great ability with coloratura. I am also very much impressed by the basso cantante Marco Vinco, and predict a bright future for him. Other fine relatively new singers in the recording include the mezzo Hadar Halevy who sings Edoardo and the buffo Bruno de Simone, the Isidoro of the recording.
I enjoyed this opera very much, and can recommend it to fans of Rossini and/or bel canto without hesitation.
Tom Kaufman © 2007