Recently in Recordings
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.
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.
16 Sep 2007
Hector Berlioz: Te Deum, op. 22
Often overshadowed by its composer's Requiem, the Te Deum, Op. 22 (1849) by Hector Berlioz deserves attention for its own merits, and this recent release by Hänssler in its series of live recordings of the Staatskapelle Dresden is a solid reading of this work.
Known for his famous cycle of Berlioz's works on for Philips, Sir Colin Davis led a focused performances of the Te Deum on 3 and 4 October 1998 in Kreuzkirche, Dresden, and this recording is derived from those concerts, which involved several choruses, including the Dresden State Opera Chorus, Dresden Symphonie Chorus, Dresden Singakademie, the Dreden Philharmonic Children's Chorus, and the Dresden State Opera Children's Chorus, as well as tenor soloist Neill Stuart, and organist Hans-Dieter Schöne.
In setting the Te Deum, Berlioz used a multi-movement structure to emphasize the various nuances of the text that simultaneously suggest a symphonic approach to the work. The opening "Te Deum" is a majestic movement that anticipates the grandeur familiar to modern audiences in the first movement of Mahler's Eighth Symphony. In the "Te Deum" movement Berlioz arrives at the sonic splendor fitting to a text that addresses the Deity directly. Organ, chorus. and orchestra work together to create a massed sound in which the textures serve to underscore the orchestration and voicing of the individual forces involved. After such a beginning, the "Tibi omnes" section in the second movement is contrastingly meditative in character, like the slow movement of a symphony. Its controlled expressed demonstrates' Berlioz's ability to achieve an effective mood with much smaller forces and to sustain the mood in underscoring the text.
While the organ is heard at various places throughout the Te Deum, it is prominent in the third section, the "Dignare," and this recording captures its sound well. The blend between the chorus and organ is nicely balanced, with the instrument supporting the voices without overshadowing them. Similarly, the tenor, Neill Stuart, has an extended solo part in the penultimate movement, "Te ergo quaesumus," and the interplay between the solo voice and orchestra or, variously, with chorus, emerges clearly to show Stuart's fine tone. Such clarity is never compromised in the tutti movements, the first, fourth, and final ones, in which the entire forces join in the sometimes complex textures Berlioz used for those texts. The sound is evenly reliable, as one would expect from a recording made in a studio. This is all the more admirable for recordings made live and also challenged by the special circumstances of performing in a church.
Moreover, Colin Davis brought his deft approach to Berlioz's music to these performances, and the recording shows the focus that he can give this work. His tempos are clear and always allow the text to be heard clearly, including those massive places where all the choruses must come together in this paean to the Deity. The balance between the orchestra, which alternately supports and comments on the vocal music, is laudable. This is a fine recording of a work by Berlioz that requires such a thoughtful approach to bring all its components together convincingly.
This recording also includes a performance, presumably from the same concerts, of Mozart's Kyrie, K. 341, which receives an equally fine reading here. Taken together, the two works are a fine contribution to the ongoing series of live recordings of the Staatskapelle Dresden led by Sir Colin Davis. As such, they preserve some fine performances and also make them available to a wider audience through their availability on CD.
James L. Zychowicz