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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
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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.
17 Jun 2007
Mahler: Urlicht is a recording of selected songs for voice and piano from various collections of
the composer’s Lieder, including his early settings from Des Knaben Wunderhorn, the later Wunderhorn Lieder that Mahler set in the 1890s in versions with both orchestral and keyboard accompaniment, and also his Rűckert-Lieder, performed by the young mezzo soprano Christianne Stotijn accompanied by Julius Drake.
The liner notes indicate that this is the first
recording made in the Menuhin Hall at Stoke D’Aberdon in the UK, which took place between
10 and 13 April 2006. While Eveline Nikkels’ comments about the Lieder are prominent in the
booklet, it is unfortunate that it lacks information about the criteria for the selection and, more
importantly, any background on the talented performers involved. Stotijn has much to
recommend, and audience are just learning her fine talent as she takes on increasingly more roles
in opera and continues to perform Lieder recitals that include the kind of repertoire found in this
In “Zu Strassburg auf der Schanz” Stotijn has some moments of dramatic intensity that set Stotijn
apart from others. Her approach is reminiscent of Ferrier’s effective declamation in some
passages of “Von der Schőnheit” in Das Lied von der Erde. In other pieces, though, Stotijn
reveals a rich contralto, as in “Der Schildwache Nachtlied,” with the full voice effectively
moving in the lower register. That song also contains some remarkably lighter sounds, as Stotijn
captures the drama and lyricism of that well-known song in ways that certainly exceed some
conventional interpretations of the song. Yet the apparently closely placed microphone
overemphasizes the vibrato that Stotijn used in this song. It begs the question of how differently
the voice and performance would appear with another recording configuration.
“Nicht Wiedershen” is another song in which the expressive palette of Stotijn’s voice becomes
apparent, with some of the iterations of “Ade” rendered in a fully supported half voice. With
“Urlicht,” the song used as the title of this collection, Stotijn is equally effective, and the upper
part of her voice is as solid in softer dynamic levels as it can be in the more boisterous passages
of some of the other songs recorded here. Her fervent interpretation of “Urlicht” has a parallel in
“Um Mitternacht,” which is appropriately intense. “Um Mitternacht” fits Stotijn’s voice well,
and gives a fine sense of the capacity of this young singer.
Julius Drake is a fine accompanist, who gives Stotijn excellent support in “Um Mitternacht” and
all the songs in this collection. The attention that characterizes some of his earlier recordings
with such singers as Sophie Daneman is present in this set of Mahler’s Lieder. His pauses and
careful placement of sonorities suggests a performer who knows not only the literature but the
singer with whom he is working. His chamber-music approach to “Ich bin der Welt abhanden
gekommen,” with its interplay between voice and piano is highly effective. In these and other
pieces, Drake does not only set the tone, but helps the singer to achieve it as he subtly brings out
various nuances in the piano part.
This recording of Mahler’s Lieder should introduce Stotijn to an international audience. With a
solidly conceived program of songs that fit her voice, the selection has much to recommend. She
clearly has an affinity for Mahler’s music that bears hearing in additional performances of the
composer’s Second Symphony, something she has done to good effect already in her career.
While the literature performed on this recording is known, the freshness of interpretation that
Stotijn and Drake offer here bears rehearing.