Recently in Recordings
In May 2016, Opera Rara gave Bellini aficionados a treat when they gave a concert performance of Vincenzo Bellini’s first opera, Adelson e Salvini, at the Barbican Hall. The preceding week had been spent in the BBC’s Maida Vale Studios, and this recording, released last month, is a very welcome addition to Opera Rara’s bel canto catalogue.
Jonas Kaufmann Mahler Das Lied von der Erde is utterly unique but also works surprisingly well as a musical experience. This won't appeal to superficial listeners, but will reward those who take Mahler seriously enough to value the challenge of new perspectives.
A new recording, made late last year, Morfydd Owen : Portrait of a Lost Icon, from Tŷ Cerdd, specialists in Welsh music, reveals Owen as one of the more distinctive voices in British music of her era : a grand claim but not without foundation. To this day, Owen's tally of prizes awarded by the Royal Academy of Music remains unrivalled.
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”
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.
10 Sep 2007
BACH: St. Matthew Passion (Excerpts)
There is much to admire in Masaaki Suzuki’s Bach performances with the Bach Collegium Japan, and this recording of excerpts from the St. Matthew Passion will remind the listener of the diverse ways in which this is so.
Among Bach ensembles, few can rival the Bach Collegium Japan for clarity and control, a control that is unflaggingly maintained, though best heard here in stunningly beautiful soft passages. Two chorales, the emblematic “O Haupt voll Blut und Wunden” and “Wenn ich einmal soll scheiden,” emerge here not as familiar pauses between events, but as moments of depth, deepened through the breathtaking control of the rendition. Sometimes the control has a shadow side: for instance, in the canonic duet with choral interjections, “So ist mein Jesus nun gefangen,” the solo lines lament Jesus’s being led away captive while the choir, in their role as the crowd of onlookers, exclaim their objection: “let him go, stop, unbind him!” Here the choir seems rather too controlled and soft; the objections become more like furtive comments among the crowd than forceful attempts to intercede. More’s the pity, as in other instances like the chorus “Sind Blitze, sind Donner,” the ensemble has fury and force in ample proportions.
If the ensemble is distinctive in its control and cultivation of the soft dynamic, the soloists are sensitive in this way, as well. The soprano aria, “Aus Liebe will mein Heiland sterben,” sung by Nancy Argenta, is exquisite in its intimacy, and both Peter Kooij as Jesus and Gerd Türk as the Evangelist also show consummate ease in the full dynamic range of their roles—the dramatic force of certain passages is keenly exciting, but it is, I think, the soft passages that are the most memorable.
The excerpt format of the recording invites one to consider the selections as self-standing moments rather than part of the dramatic flow. And in that light, the alto aria, “Erbarme dich” is easily one of the high points of the recording. Counter-tenor Robin Blaze is at his best here with a soaring high range and compellingly engaging sense of line. And the rich interplay with the ornamental violin playing of Natsumi Wakamatsu makes for especially rapturous counterpoint.
The recording is not problem-free, however. In the imposing chorale fantasia on “O Mensch bewein dein Sünde gross,” the treble cantus firmus adds the sound of children’s choir, a well-considered echo of Bach’s scoring of the opening chorus. However, here it is precisely echo that is the problem. The cantus firmus sounds as though it is being sung somewhere else, and that somewhere else seems to have an exaggerated reverberation at odds with the main acoustic of the performance. The effect is both surprising and jarring.
Another problem surfaces in the excerpt format of the recording itself. Apart from the economic attraction of a one-disc affair, it is difficult to see the gain and easy to perceive the loss. In a number of the excerpts, there is a clear intent to provide a degree of cohesion, and that is welcome. But in other instances arias are severed from their immediate surroundings, which leads to disjuncture, ambiguity of reference and context, and the loss of the characteristic ebb and flow of declamation and lyricism. Instead, the isolated moments emerge as independent “favorites.” If one wants to listen to one’s favorites, the CD format in general makes that an easy thing to do. The record producers do not need to devise excerpt recordings to make this convenient. And in devising recordings of excerpts, they invite the listener to consider the work shorn of its beauty of integration. That’s a sad loss.