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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
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major opera houses today.
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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.
It would be condescending and perhaps even offensive to suggest that singing
traditional Spirituals is a rite a passage for artists of color, but the musical heritage of the United States has been greatly enriched by the performances and recordings of Spirituals by important artists such as Paul Robeson, Marian Anderson, Leontyne Price, Martina Arroyo, Shirley Verrett, Grace Bumbry, Jessye Norman, Barbara Hendricks, Florence Quivar, Kathleen Battle, Harolyn Blackwell, and Denyce Graves.
As a companion to their excellent Great Wagner Singers boxed set
compiled and released in celebration of the Wagner Bicentennial, Deutsche
Grammophon have also released Great Wagner Conductors, a selection of
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the Twentieth Century, extracted from Deutsche Grammophon’s extensive
There could be no greater gift to the Wagnerian celebrating the Master’s
Bicentennial than this compilation from Deutsche Grammophon, aptly entitled
Great Wagner Singers.
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Recording Richard Wagner’s Der Ring des Nibelungen is for a
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31 May 2007
MAHLER: Symphony no. 2
Given the fine recent recordings of Mahler’s Second Symphony on both CD and DVD, the release of Pierre Boulez’s performances from 26 and 27 March 2005 at the Philharmonie, Berlin, is a further contribution to the interpretations of this important work.
This recording dates from
the celebrations in Berlin of Boulez’s eightieth birthday, and shows the conductor as a vital artist
who is not content to be feted in the concert honoring him, but to continue his own
music-making by conducting it himself. The intensity that Boulez brings to live concerts is
captured in this video which was made in conjunction with the ARTE France, which brought its
own quality to the visual presentation of this milestone performance. The titling actually gives
the occasion first, that is, the celebration of Boulez’s eightieth birthday, with the name of the
working following it.
As to the timing of this concert, this video predates the performances Boulez made in June 2005
when he recorded Mahler’s Second Symphony with the Vienna Philharmonic for a CD released
in 2006 by Deutsche Grammophon (with Michelle De Young and Christine Schäfer). Both
recordings demonstrate the fine attention to detail that Boulez brings to this score, along with a
subtle intensity in allowing the nuances to emerge. In fact, it is possible to perceive Boulez
shading the dynamics and balance throughout the performance — sometimes it would be
preferable to see more of Boulez than the shots of the orchestra that focus too often on close-ups
of instruments rather than the players or their sections.
The performance itself is quite effective. Boulez set the tone well in the first movement, which
moves along with the sense of urgency that is implicit in the score. The playing clean and precise,
with the clear direction from Boulez present throughout the movement. In addition, the sound is
nicely balanced and the dynamic range appropriately fully, thus conveying the sense of the live
hall that the audience experienced. While the forward motion is evident in this reading, the
concluding passage is paced so that it emphasizes the descending gesture, rather leaving it sound
as though it were a tacked-on gesture. That bit of drama draws in the audience, and it is a detail
like this that sets Boulez’s live performances apart from other conductors.
With the second movement, Boulez captured the tone of the piece from the start, and the
chamber-music-like sound from the string is rich in this reading. Subdued in volume, this idyllic
piece is still intense for its tight ensemble and unified gestures. Unlike the more extroverted
movements that Mahler used to frame this Symphony, the economy of gesture and theme are
essential to the interpretation of this piece that becomes, in Mahler’s erstwhile programs for the
work, a reminiscence of the past. It is, perhaps, an idealized image of the protagonist’s life, as
suggested by the form and style Mahler for the movement. This is a fine example of the close
ensemble that Boulez drew from the forces at his disposal.
The third movement differs in its move outgoing nature. An instrumental reworking of Mahler’s
song Des Antonius von Padua Fischpredigt, the movement also contains an extended quotation
from the Scherzo of his colleague Hans Rott’s Symphony in E. While Mahler’s programs for the
movement had someone from the outside looking into a ballroom scene — as could be imagined
through the invocation of Rott, the narrative text intersects the memory of the song that is at the
core of Mahler’s Scherzo. Lyricism is evident in this movement and, if a weakness may be found,
it is in the somewhat subdued entrances of Rott’s Scherzo theme — music that suggests the
rollicking dance from Tchaikovsky’s Eugene Onegin.
With the fourth movement, the Wunderhorn song Urlicht, Mahler sets into motion the vocal
elements that are essential to the choral Finale of the entire Symphony. Petra Lang offers a solid
reading of the solo piece, with a rich dark tone that can be easily heard over the accompaniment.
It may be the recording, but the DVD sound does not capture entirely the enunciation of the text,
which is essential for understanding Mahler’s intentions in using Klopstock’s text for the final
movement. Yet the camera has captured Lang’s strongly pronounced entrance of the passage in
the Finale with the text “O glauben,” which becomes a duet with Damrau’s entrance.
The cantata-like canvas of the fifth movement is wonderfully evocative, and Boulez’s
performance is laudable for its unified approach to the first part, the one in which the
instrumental forces alternate between passages of thematic development and sheer effect (like the
percussion rolls that signal the dead march). With the entrances of the solo voices, Boulez
allows the text to emerge clearly. In shaping the choral forces, Boulez was as sensitive to the
softer passages, as he was to the string textures of the second movement. He gradually builds the
movement to the critical passage “Sterbe ich um zu leben,” with music that anticipates the choral
Finale of Mahler’s Eighth Symphony, both of which share the “Auferstehungs” motif from
Wagner’s opera Siegfried. Here the instrumental and vocal forces are unified in conveying
Mahler’s music succinctly in the powerful conclusion of this work.
Well-recorded videos of concerts like this are welcome, and this is especially true for those of a
conductor like Boulez, whose almost legendary finesse deserves such documentation. The visual
element helps to demonstrate the command of the ensemble that must occur with successful
performances like this one. Details, like the physical dimensions of the hall, images of the
attentive audience, and such elements reinforce the focus of the video which, necessarily,
emphasizes the conductor and the musicians he is leading. Nevertheless, some elements are not
answered in the film. It is unclear how Boulez treated Mahler’s marking after the first movement,
which indicates a break of at least five minutes before the second movement. While a clear
separation between the movements occurs on the DVD, it is less than five minutes on the video
and even then, recording such a pause would not contribute anything significant: such directions
for Mahler’s music belong to the immediacy of the live performance. Yet other, perhaps more
salient aspects of the live performance emerge in this recording, especially the warm way in
which the audience greeted Boulez greeted at the start of the concert and the correspondingly
enthusiastic response at its conclusion. More than a birthday celebration for one of the major
composers and conductors of the last century, this DVD has much to offer for the qualities
Boulez brings to this notable concert performance of one of Mahler’s finest works.
James L. Zychowicz