08 Mar 2007
Verdi Gala from Berlin
This concert was given on New Year’s eve in the year 2000, and the frail Claudio Abbado who comes out to conduct makes for an alarming sight.
Paul Dukas’ Ariane et Barbe-Bleue, first heard in 1907, once seemed important. Arturo Toscanini conducted the Met premiere in 1911 with Farrar and later arranged some of its music for a 1947 recording with his NBC Symphony.
The economics of the recording companies dictate much that is not ideal. Wagner’s operas were not composed as they were in order to permit the extraction of bleeding chunks, even on those occasions when strophic song forms do occur.
Among the recent recordings of Mahler’s Eighth Symphony, Valery Gergiev’s release on the LSO Live label is an excellent addition to the discography of this work.
While not unknown, the songs of Alexander von Zemlinsky (1871-1942) deserve to be heard more frequently.
Recorded on 5 and 6 May 2008 and 17 and 18 January 2009 at the Lisztzentrum (Raiding, Austria), this recent Bridge release makes available the piano-vocal versions of three song cycles by Gustav Mahler, Lieder eines fahrenden Gesellen, Rückert-Lieder, and Kindertotenlieder performed by mezzo-soprano Hermine Haselböck, accompanied by Russell Ryan.
Contraltos rarely achieve the acclaim and renown of sopranos. Assigned few leading roles in opera, they are condemned to playing the villain or the grandmother, or to stealing the castrati’s trousers in en travesti roles.
Following their 2011 Decca recording of Striggio’s Mass in 40 Parts (1566), I Fagiolini continue their quest to unearth lost treasures of the High Renaissance and early Baroque, with this collection of world-premiere recordings, ‘reconstructions’ and ‘reconstitutions’ of music by Giovanni and Andrea Gabrieli, Monteverdi, Palestrina, and their less well-known compatriots Viadana, Barbarino and Soriano.
Eternal Echoes is an album of khazones [Jewish cantorial music] for cantorial soloist, solo violin and a blended instrumental ensemble comprising a small orchestra and the Klezmer Conservatory Band.
Michael Tilson Thomas’s recording of Mahler’s Third Symphony is an outstanding contribution to the composer’s discography.
Oliver Knussen burst into British music with an unprecedented flourish. In 1967, the London Symphony Orchestra premiered Knussen’s First Symphony, with István Kertész scheduled to conduct.
Based on performances given in Summer 2010 at the Lucerne Festival, this recording of Beethoven’s Fidelio is an admirable recording that captures the vitality of the work as conducted by Claudio Abbado.
Stanisław Moniuszko (1819-1872) was one of the most popular composers of his day in Poland, and of the many works he wrote for the stage, two are performed from time to time, Halka (1848) and Strazny dwór [The Haunted Manor] (1865).
The Polish alto Jadwiga Rappé is a familiar voice in various stage and concert works, and the recent release of a selection of songs by Stanisław Moniuszko (1819-1872) is an opportunity to hear her performing artsongs.
Originally released on multiple discs in 1981 this reissue on two CDs is a comprehensive collection of art songs by Italian and French composers from the nineteenth and early twentieth centuries.
An exciting contribution to the discography of this popular opera, the live performance of Richard Strauss’s Salome from the Festspielhaus at Baden-Baden is a compelling DVD.
Released in late 2011, Deutsche Grammophon’s DVD of the new staging of Berg’s Lulu at the Gran Teatro del Liceu, Barcelona is an excellent contribution to the discography of this fascinating opera.
A recent release by the Metropolitan Opera, this two-disc set makes available on DVD the famous performance of Berg’s Lulu that was broadcast on 20 December 1980 as part of the PBS series “Live from the Met.”
The novels of Sinclair Lewis once shot across the American literary skies like comets, alarming and fascinating readers of that era, but their tails didn’t extend far behind them.
Once the province of only the most dedicated opera fanatics, mid-20th century recordings of privately taped live performances have become more widely available.
Flute players in opera orchestra around the world must look forward to the frequent appearances of Donizetti’s Lucia di Lammermoor, knowing that while the stage spotlight in the mad scene will be on the soprano, the orchestral spotlight will be on their instrument.
This concert was given on New Year’s eve in the year 2000, and the frail Claudio Abbado who comes out to conduct makes for an alarming sight.
To know that the man continues to share his artistry with us in 2007 gives great reassurance. But even more comfort comes with the skillful, detailed support he provides for some fine singers in an evening devoted to the music of Giuseppe Verdi.
For once a gala evening commences without some ubiquitous overture. Andrea Rost pipes merrily as Oscar in the conclusion to Ballo’s act one, scene one, soon joined by Ramon Vargas, Massimo Giordano and Lucio Gallo. Alan Titus and Anatoly Kocherga step in, and soon we’re in Ulrica’s cave, with the psychic sung by Carmela Remigio. Rost concludes the Ballo segment with “Saper vorreste.”
After viewing so many galas, your reviewer appreciates the avoidance of the “walk-on-sing-walk off” ritual. Still, viewers should have no high expectations about witnessing some of the dramatic intensity of a stage performance. The singers are all fine, but this is very much a concert.
Remigio reappears with Stella Doufexis for “ball scene” from the French Don Carlos, an interesting choice of repertory, followed by the traditional tenor gala fare of the Duke’s first and last act arias, sung handsomely by Vargas. Then Abbado leads a rousing Traviata “Libiamo.” Rost offers a sweet, almost cheerful “Sempre libera,” joined by Vargas.
The gala concludes with three large sections of Falstaff, with Alan Titus as the corpulent cavalier, however, not appearing until the third, the opera’s concluding scene. Larisa Diadkova and Elizabeth Futral join Rost and Doufexis as the merry wives, with Gallo, Kocherga, and Giordano as the men, supplemented by Anthony Mee and Enrico Facini. So it’s a Falstaff without much Fat John, for what that’s worth.
As a rousing encore, Abbado leads the orchestra in Johann Strauss’ “Maskenfest-quadrille,” an irresistibly bouncy conflation of some of Ballo’s tunes.
Elegantly performed, this DVD offers 90+ minutes of enjoyable music. And as with so many galas, the whole event vanishes from one’s musical memory fairly quickly. So this DVD allows one to refresh that memory with ease. Treat oneself if so inclined.
Chris Mullins