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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.
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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
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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.
Alfredo Kraus, one of the most astute artists in operatic history in terms of careful management of technique and vocal resources, once said in an interview that ‘you have to make a choice when you start to sing and decide whether you want to service the music, and be at the top of your art, or if you want to be a very popular tenor.’
In generations past, an important singer’s first recording of Italian arias would almost invariably have included the music of Verdi.
With celebrations of the Verdi Bicentennial in full swing, there have been
many grumblings about the precarious state of Verdi singing in the world’s
major opera houses today.
In the thirty-five years immediately following its American première at the Metropolitan Opera in 1914, Italo Montemezzi’s ‘Tragic Poem in Three Acts’ L’amore dei tre re was performed in New York on sixty-six occasions.
Few operas inspire the kind of competing affection and controversy that have surrounded Mozart’s Così fan tutte almost since its first performance in Vienna in 1790.
During his career in film, opera, and operetta, Richard Tauber (1891 - 1948) enjoyed the sort of global fame that eludes all but the tiniest handful of ‘serious’ singers today.
Known principally for its two concert show-pieces for the leading lady, the success of Francesco Cilea’s Adriana Lecouvreur relies upon finding a soprano willing to take on, and able to pull off, the eponymous role.
23 Sep 2007
Playing Elizabeth’s Tune
The 2004 DVD "Playing Elizabeth’s Tune," originating in a BBC television production, features concert performances of Byrd’s sacred music sung by the Tallis Scholars along with documentary material treating the composer and his time.
The present CD presents the “concert” material from the BBC television program, and though absent the sights of a candle-lit Tewkesbury Abbey, the sounds are sumptuous, often exquisite, and leave one without any suspicion that anything is “missing.”
The program is a diverse sampling of Byrd’s music, ranging from Latin mass and motet to Anglican anthem and canticle, from dense counterpoint to stunningly beautiful chordal homophony, from celebrative tones to the dark hues of poignant lamentation. Byrd’s music takes the Tallis Scholars only a short jog from their eponymous home base, and to no one’s surprise, they sing this program with the natural confidence and expertise born of decades’ experience. Their performances are alternately suave, alternately animated, and unflaggingly fluent. From an ensemble that has been one of the standard bearers for the modern performance of this repertory, one would expect nothing less.
The Scholars’ sound is distinctively vibrant and free, a tone that is particularly well-suited to exuberant passages, such as arise in the motet “Vigilate” and the “Gloria” and “Credo” from the Mass for Four Voices. The exuberance is exciting and they continue to explore the animated potential of lines with notable flair. The sound also is well-suited to contrapuntal independence of line. However, the lower-voice blend on occasion seems to suffer a bit from the degree of timbral freedom, as in the dark opening of “Ne irascaris,” but softer passages--Sion deserta” in the same motet, for instance--show a warm blendability that surfaces elsewhere, too, as in the moving anthem, “Prevent us, O Lord.”
The text underlay of the vernacular works requires a sensitivity to period pronunciation—a one-syllable Spirit in the “Magnificat” from the Great Service, for example—and these adjustments are rendered with ease here. The ensemble’s Latin, however, persists in being Italianate “church Latin,” and one wonders what so accomplished a group might do with the inflections of sixteenth-century Anglo-Latin as part of their verbal palette.
The program here is admittedly one of “favorites,” most, if not all, well known and well represented in the recorded catalogue. Among favorites, I find “O Lord, Make thy Servant Elizabeth” an irresistible gem, complete with an “Amen” that packs a rose-window’s worth of blossom into just a few measures’ length. The plea at the end of the anthem is that God will grant the Queen a long life; given the beauty of the singing on this recording, one might easily wish the same for those who here sing “Elizabeth’s Tune.” A splendid recording.