04 Jul 2007
DONIZETTI: Dom Sébastien, roi de Portugal
When hearing the final work of a composer whose life was cut short, one can not help but wonder, “What if?”
The Feast at Solhaug : Henrik Ibsen's play Gildet paa Solhaug (1856) inspired Wilhelm Stenhammer's opera Gillet på Solhaug. The world premiere recording is now available via Sterling CD, in a 3 disc set which includes full libretto and background history.
Honours yet again to Oehms Classics who understand the importance of excellence. A composer as good, and as individual, as Walter Braunfels deserves nothing less.
‘Can great music be inspired by the throw of the dice?’ asks Peter Phillips, director of The Tallis Scholars, in his liner notes to the ensemble’s new recording of Josquin’s Missa Di dadi (The Dice Mass). The fifteenth-century artist certainly had an abundant supply of devotional imagery. As one scholar has put it, during this age there was neither ‘an object nor an action, however trivial, that [was] not constantly correlated with Christ or salvation’.
Francesco Cavalli’s La Calisto was the composer’s ﬁfteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.
New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.
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” with herself!).
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 twentieth-century France
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.
When hearing the final work of a composer whose life was cut short, one can not help but wonder, “What if?”
For instance, would Bellini have bested the success of I puritani had he lived to compose again? Or what might Turandot have sounded like had Puccini not had that fatal post-surgery heart attack? “What if” musings about Gaetano Donizetti’s last opera are especially bittersweet. Unlike Bellini’s and Puccini’s, Donizetti’s final work, Dom Sébastien, roi de Portugal, was composed some four years before his death in 1848. Even though Caterina Cornaro was the last work he debuted, it actually had been composed a year before Dom Sébastien, the five-act grand opéra that premiered in Paris in 1843. It was during its rehearsals at the Opéra that the symptoms of cerebro-spinal syphilis, the disease that would kill the composer, began to incapacitate him mentally and physically, signaling the end of years of frenetic professional activity between Vienna, Paris, and a variety of theaters in Italy.
In spite of Donizetti’s health problems, the onset of which had troubled Dom Sébastien’s genesis, the opera poses a critical “what if.” Had Donizetti been able to continue his prolific career, would he—indeed, could he—have outdone what he achieved in this opera? Dom Sébastien is a massive score of nearly symphonic proportions expertly colored with elements that portray Europe and exotic Africa. Moreover, by employing allusion to chant, Donizetti even reflected the austerity of the Inquisition. Although there are “signature” passages that identify the opera as his, its magnitude introduces a heretofore unknown Donizetti at his creative peak—ironic, of course, since it also signals his creative demise.
Those who know Donizetti through the “standards”—Don Pasquale, Lucia di Lammermoor, and L’elisir d’amore—owe it to themselves to hear Dom Sébastien. An 1984 recording on the Legato Classics label exists but to get the full power and sheer dynamic drama of the work, Opera Rara’s three CD box with (as always) exhaustive liner notes is a better choice. As usual, Opera Rara has issued a recording that boasts historical integrity; the score employed was based on the one edited by musicologist Mary Ann Smart and published by Ricordi in 2003 as part of its Critical Edition of Donizetti’s works. A critical edition painstakingly traces all authorized versions and revisions, thus allowing modern interpreters a number of performance choices that will still reflect the work in its original forms. Opera Rara has taken this responsibility to heart, even including libretto passages by Dom Sébastien’s librettist Eugène Scribe that Donizetti may never have set. Also, three tracks faithfully interpret the music of the opera’s ballet, that ubiquitous element in French opera. Recorded in concert version at Covent Garden in 2005, this production truly exhibits the entirety of Donizetti’s final work.
Even though this is the finest recording of Dom Sébastien available, it is not without road bumps. Although the Orchestra of the Royal Opera House plays flawlessly under the baton of Mark Elder and that house’s chorus supports the soloists admirably under Renato Balsadonna’s direction, the cast is uneven. Sharing honors as the best of the cast are tenor Giuseppe Filianoti, who sings Sébastian, and baritone Simon Keenlyside as his Moorish rival, Abayaldos. Both singers offer impressive interpretations, so impressive, in fact, that they often show off the weaknesses of their fellow cast members. Alone, Filianoti always offers a clear, strong voice, impressive in such arias as “Seul sur la terre.” Similarly, Keenlyside’s renderings are consistent and rich. He, too, is perhaps the performer who most ably, through his voice alone, exploits the drama of the role entrusted to him.
Vesselina Kasarova (Zayda) has a rich mezzo with lush dark overtones, but her use of portamento at times approaches “scooping,” a distraction as she often approaches her notes from below. She almost always interprets the Moorish girl with vocal intensity, but there are delightful moments, such as in the aria “O mon Dieu, sur la terre,” when she allows her lyrical abilities to shine. Generally, she pairs well with the other singers, absolutely critical in this opera which is heavily laden with complex ensemble singing. However, the final notes of her Act II duet with Filianoti (“Courage!...ô mon roi! Courage”) take her mezzo to an uncomfortable altitude; while Filianoti hits his pitch with ease, she almost screeches hers. On the other hand, she pairs perfectly with Keenlyside; especially noteworthy is the Act II duet “Ah! Eh bien! Je le préfère/ Ne crois pour te soustraire” in which the dynamic climax allows her to remain comfortably within her range.
One could have wished for a better vocal interpretation of the role of the poet/soldier Camoëns. From his first appearance, “Soldat, j’ai rêvé la victoire” baritone Carmelo Corrado Caruso disappoints. Certainly not lacking in dramatic ability, his consistent wobble distracts from the vocal lines Donizetti created for this character. He virtually circles his pitches, at times so busily that it is hard to know where his is aiming. Although this is particularly apparent in recitative, it also mars arias such as the poet’s elegant musing, “O Lisbonne, ô ma patrie!”
Other roles are handled ably: Alastair Miles as Dom Juam de Silva, tenor John Upperton as Dom Antonio and the First Inquisitor, Andrew Slater as Ben-Sélim, Robert Gleadow as Dom Henrique, Martyn Hill as Dom Luis, Nigel Cliffe as the Soldier, and John Bernays as the Third Inquisitor. Despite a wonderful orchestra, cast, and chorus, the glory in this recording belongs to Donizetti, whose score remains a wonder to this day. Because of its sheer size, Dom Sébastien would rarely be cost-effective for any company to produce (hence, the Royal Opera’s concert performances). Opera Rara’s recording, then, is the safest way to hear a magnificent opera that promises to have its listeners wondering “what if?”