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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.
02 May 2007
BACH: Cantatas, Vol. 26 (Whit Sunday and Whit Monday)
Among the virtues of hearing Bach cantatas performed in liturgical order—one of the hallmarks
of John Eliot Gardiner’s stunning Cantata Pilgrimage of 2000—is the chance to savor Bach’s range of approach to unified text themes.
In this present volume Gardiner presents seven
cantatas, all for Pentecost Sunday and Monday, with a chronological span of 1714 to 1746/7.
Thus we hear not only the development and refinement of Bach’s own abilities, but also his
development of specific material. For instance, the opening duet of Wer mich liebet, BWV 59 is
amply fleshed out later as the opening chorus of Wer mich liebet, BWV 74, an expansion in both
vocal and instrumental scoring, rather like Bach discovering a newly rich palette of hues and
returning to re-color an earlier image. (Three of the cantatas, BWV 173, 68, and 174, adapt
material, as well, including a splendid reworking of part of the third Brandenburg, although the
models are not recorded here.)
The variety within the cantatas of the collection can be impressive. Erschallet, ihr Lieder, BWV
172, for example, presents a festive chorus, appealingly brilliant and exuberant, an aria with
some of Bach’s most virtuosic trumpeting, a duet in the form of a love scene between the Soul
and the Spirit, akin to the sensuous duets of Ich hatte viel Bekummernis, BWV 21 from the
previous year or Johann Christoph Bach’s wonderful Meine Freundin, du bist schön, and also a
richly adorned chorale, a setting of Wie schön leuchtet der Morgenstern with violin descant. An
early work dating from 1714, it shows Bach in full control of varied resources and having no
shortage of ideas in response to an imageful text.
Performed and recorded in June, 2000, this installment of the Cantata Pilgrimage falls midway
through the year’s tour of (primarily) European churches. And though personnel will vary
throughout the year, it is significant that here at the midpoint the ensemble’s “house style” is well
established and the performances show no sign of fatigue with the project nor staleness in the
rendition. Among the solo singers, tenor Christoph Genz, a former chorister at St. Thomas
Church in Leipzig, is particularly memorable for his brilliant sound and nimble execution, as
well as his lyrical sensitivity. Soprano Lisa Larsson draws the task of singing one of Bach’s
best-known arias, the chestnut “Mein gläubiges Herze” from Also hat Gott die Welt geliebt,
BWV 68. Her performance sparkles and smiles, especially in collaboration with David Watkin’s
spry violoncello piccolo accompaniment. Also notable is countertenor Derek Lee Ragin’s
dramatic rendition of the highly theatrical aria “ Nichts kann mich erretten” from cantata 74.
Ragin has a flair for the dramatic propensities here and the deft technique to “laugh at Hell’s
anger.” The dynamic variation with his register shifts may detract on occasion, but this
extraordinarily gestural aria is well-served by his commanding interpretation.
The choir is seasoned and fluent in its singing—Bach seems to be for them a “native tongue.”
Gardiner has a wonderful capacity for investing his performances with rhythmic excitement,
especially evident in the choruses. However the line between this rhythmic excitement and a
harsh articulative exaggeration is not always well gauged, as in the final chorus of cantata 68.
All in all, however, the Bach Cantata Pilgrimage remains a most impressive undertaking. Its
legacy of recordings document music-making of high distinction, indeed.