Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Recordings

Maybe the Best L’heure espagnole Yet

The new recording, from Munich, has features in common with the Stuttgart one: the singers are all native French-speakers, the orchestra is associated with a German radio channel, we are hearing an actual performance (or in this case an edited version from several performances, in April 2016), and the recording is released by the orchestra itself or its institutional parent.

Stéphanie d’Oustrac in Two Exotic Masterpieces by Maurice Ravel

The two works on this CD make an apt and welcome pair. First we have Ravel’s sumptuous three-song cycle about the mysteries of love and fantasies of exotic lands. Then we have his one-act opera that takes place in a land that, to French people at the time, was beckoningly exotic, and whose title might be freely translated “The Nutty and Delightful Things That Can Happen in Spain in Just One Hour”.

Stefano Secco: Crescendo

I had never heard of Stefano Secco before receiving this CD. But I see that, at age 34, he already has had a substantial career, singing major roles at important houses throughout Europe and, while I was not paying attention, occasionally in the US.

French orientalism : songs and arias, Sabine Devieilhe

Mirages : visions of the exotic East, a selection of French opera arias and songs from Sabine Devieilhe, with Alexandre Tharaud and Les Siècles conducted by François-Xavier Roth, new from Erato

Hans Werner Henze Choral Music

Hans Werner Henze works for mixed voice and chamber orchestra with SWR Vokalensemble and Ensemble Modern, conducted by Marcus Creed. Welcome new recordings of important pieces like Lieder von einer Insel (1964), Orpheus Behind the Wire (1984) plus Fünf Madrigale (1947).

Bettina Smith, Norwegian Mezzo, in Songs by Fauré and Debussy

Here are five complete song sets by two of the greatest masters of French song. The performers are highly competent. I should have known, given the rave reviews that their 2015 recording of modern Norwegian songs received.

Étienne-Nicolas Méhul: Uthal

The opera world barely knows how to handle works that have significant amounts of spoken dialogue. Conductors and stage directors will often trim the dialogue to a bare minimum (Magic Flute), have it rendered as sung recitative (Carmen), or have it spoken in the vernacular though the sung numbers may often be performed in the original language (Die Fledermaus).

A New Anna Moffo?: The Debut Disc of Aida Garifullina

Here is the latest CD from a major label promoting a major new soprano. Aida Garifullina is utterly remarkable: a lyric soprano who also can handle coloratura with ease. Her tone has a constant shimmer, with a touch of quick, narrow vibrato even on short notes.

Il sogno di Scipione: a new recording from Classical Opera

With this recording of Mozart’s 1771 opera, Il sogno di Scipione (Sicpio’s Dream), Classical Opera continue their progress through the adolescent composer’s precocious achievements and take another step towards the fulfilment of their complete Mozart opera series for Signum Classics.

Mozart’s Requiem: Pierre-Henri Dutron Edition

The stories surrounding Mozart’s Requiem are well-known. Dominated by the work in the final days of his life, Mozart claimed that he composed the Requiem for himself (Landon, 153), rather than for the wealthy Count Walsegg’s wife, the man who had commissioned it in July 1791.

Schumann and Mahler Lieder : Florian Boesch

Schumann and Mahler Lieder with Florian Boesch and Malcolm Martineau, now out from Linn Records, following their recent Schubert Winterreise on Hyperion. From Boesch and Martineau, excellence is the norm. But their Mahler Lieder eines fahrenden Gesellen takes excellence to even greater levels

Hans Werner Henze : Kammermusik 1958

"....In lieblicher Bläue". Landmark new recordings of Hans Werner Henze Neue Volkslieder und Hirtengesänge and Kammermusik 1958 from the Scharoun Ensemble Berlin, with Andrew Staples, Markus Weidmann, Jürgen Ruck and Daniel Harding.

Elder conducts Lohengrin

There have been dozens of capable, and more than capable, recordings of Lohengrin. Among the most-often praised are the Sawallisch/Bayreuth (1962), Kempe (1963), Solti (1985), and Abbado (1991). Recording a major Wagner opera involves heavy costs that a record company may be unable to recoup.

Premiere Recording: Mayr’s Telemaco nell’isola di Calipso (1797)

No sooner had I drafted my review of Simon Mayr’s Medea in Corinto,

A Verlaine Songbook

Back in the LP days, if a singer wanted to show some sophistication, s/he sometimes put out an album of songs by famous composers set to the poems of one poet: for example, Phyllis Curtin’s much-admired 1964 disc of Debussy and Fauré songs to poems by Verlaine, with pianist Ryan Edwards (available now as a CD from VAI).

Giovanni Simone Mayr: Medea in Corinto

The Bavarian-born Johann Simon Mayr (1763–1845) trained and made his career in Italy and thus ended up calling himself Giovanni Simone Mayr, or simply G. S. Mayr. He is best known for having been composition teacher to Giuseppe Donizetti.

Matthias Goerne: Bach Cantatas for Bass

In this new release for Harmonia Mundi, German baritone Matthias Goerne presents us with two gems of Bach’s cantata repertoire, with the texts of both BWV 56 and 82 exploring one’s sense of hope in death.  Goerne adeptly interprets the paradoxical combination of hope and despair that underpins these works, deploying a graceful lyricism alongside a richer, darker bass register.

Gramophone Award Winner — Matthias Goerne Brahms Vier ernste Gesänge

Winner of the 2017 Gramophone Awards, vocal category - Matthias Goerne and Christoph Eschenbach - Johannes Brahms Vier ernste Gesänge and other Brahms Lieder. Here is why ! An exceptional recording, probably a new benchmark.

Véronique Gens: Visions from Grand Opéra

Ravishing : Visions, Véronique Gens in a glorious new recording of French operatic gems, with Hervé Niquet conducting the Münchener Rundfunkorchester. This disc is a companion piece to Néère, where Gens sang familiar Duparc, Hahn, and Chausson mélodies.

John Joubert's Jane Eyre

Librettists have long mined the literature shelves for narratives that are ripe for musico-dramatic embodiment. On the whole, it’s the short stories and poems - The Turn of the Screw, Eugene Onegin or Death in Venice, for example - that best lend themselves to operatic adaptation.

OPERA TODAY ARCHIVES »

Recordings

Sacred Music from Notre-Dame Cathedral
24 Jun 2007

Sacred Music from Notre-Dame Cathedral

In charting the history of music in the West, the twelfth and thirteenth centuries in Paris loom large as a golden age of innovative polyphony, a golden age that is much the fruits of two composers, Leoninus and Perotinus.

Sacred Music from Notre-Dame Cathedral

Tonus Peregrinus; Antony Pitts, Director

Naxos 8.557340 [CD]

$7.99  Click to buy

Their famous magnus liber organi—the great book of organum—preserves polyphonic settings of responsorial chants, works that define and establish Gothic sound much as the cathedral in which they were sung, Notre Dame in Paris, defines and establishes our notions of Gothic space.

Tonus Peregrinus offers three of the most substantial Notre Dame works—the two-voice Viderunt by Leoninus and the four-voice Viderunt and Sederunt by Perotinus. Pitts divides his ensemble into lower- and upper-ranged forces, and the opportunity to hear this repertory in both ranges is a welome one. In the main, these forces remain discrete and the polyphony is performed appropriately by soloists. In one instance, however—at the end of the two-voiced Viderunt—Pitts combines the registers. The octave doubling in itself is not problematic, but in that the doubling requires transforming a solo line into a choral one, there is a loss of responsiveness and flexibility in the process, and that is a loss, albeit only a momentary one.

The performances of these large-scaled organa are otherwise impressive. In the discantus sections—the sections where the notes of all the parts move together in rhythmic pattern—Pitts allows the music to unfold at a congenially leisurely pace. This contrast to many modern performances allows singer and listener alike to dwell in the time rather than to push the time ahead; the more contemplative turn is an attractive one. In the solo sections, Richard Eteson deserves special mention for his wonderfully contoured sense of both individual notes and phrase. Similarly, Rebecca Hickey’s monophonic conductus, Beata viscera, is rapturous, expressive, and exquisite, a memorable opening to the whole program.

The program is one that shows the signs of special care in its construction, for it is obvious that Pitts wants to demonstrate historical development here. For instance, the two-voiced organal setting of Viderunt is followed by substitute clausulae and a motet on part of its foundational chant. The clausulae are short sections of a minute or less, whose purpose in the program is surely instructive, rather than aesthetic. And these are followed in turn by the four-voice setting of the same chant. Thus, in large part, the program is showing a notable variety of ways of treating the same pre-existent melody, and this variety developed within the school of Notre Dame. In a similar vein, Pitts remains instructive with the inclusion of a psalm whose twenty verses are sung in different intervallic configurations to demonstrate the range of possibilities described in the ninth-century treatise, the Scholia enchiriadis, famous for being among the first theoretical sources to describe polyphony. It is an interesting pedagogical aside in the program, but one that does not distract from the splendid singing of the large-scale pieces.

The ensemble’s use of Roman Latin pronunciation is curious, and one might have welcomed their sonic palette being extended and enriched with period French pronunciation. This, however, is but a small quibble; the recording is impressive.

Steven Plank

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):