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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.
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
songs by Ricky Ian Gordon interpreted by soprano Stacey Tappan, a longtime
friend of the composer since their work on his opera Morning Star at
the Lyric Opera of Chicago.
07 Sep 2007
Kiri Sings Karl: Songs of Mystery & Enchantment
Alban Berg's Wozzeck takes almost two hours to induce a sense of soul-crushing nausea and despondency. Kiri Sings Karl achieved that for your reviewer in a couple minutes, and then went on with terrifying, torturous efficiency for almost another hour.
Apparently Wales-born Karl Jenkins has made quite a success in the UK and Europe. His breathless biography in the CD booklet reports that he started in jazz, then earned numerous awards "in the field of advertising music," before turning his talent (supply one's own throat clearing) to 'classical' music (inverted commas courtesy the booklet essay).
Although the cover claims that these "songs of mystery and enchantment" are composed and arranged by Karl Jenkins, that should really be "and/or." The majority adapt melodic material from composers such as Fauré, Chopin, Beethoven, with a large number using the lighter material of Argentinian Carlos Guastivino. A smaller number are credited to Jenkins.
Everything sounds the same, at any rate. Jenkins doesn't even have the occasionally effective melodic gift of an Andrew Lloyd-Webber. Vangelis is a closer comparison - and that's no compliment to Vangelis. Synthesizers pulse and stream, percussion rattles endlessly, and a breathy chorus mumbles nonsense syllables. And above all that we have soprano Kiri Te Kanawa. Her own booklet note makes it clear that she admires Mr. Jenkins and his music. Fine. Even if she had recorded this album when her voice possessed its full bloom and beauty, she would not have to bring much to it. In her current vocal state, the tone trembles as she lightens the support to fit the pop-nature of the material. She sounds much, much older than she looks in the very attractive and glamorous photos generously supplied in the packaging.
If OperaToday readers know Mr. Jenkins' work and appreciate it, surely they will find this CD as enjoyable as any other from him. Only the most devoted of Ms. Te Kanawa's fans, however, are likely to find much pleasing here.
Sappy, derivative, occasionally tasteless (try Antema Africana): that's Kiri Sings Karl.