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Paul Dukas’ Ariane et Barbe-Bleue, first heard in 1907, once seemed important. Arturo Toscanini conducted the Met premiere in 1911 with Farrar and later arranged some of its music for a 1947 recording with his NBC Symphony.
The economics of the recording companies dictate much that is not ideal.
Wagner’s operas were not composed as they were in order to permit the
extraction of bleeding chunks, even on those occasions when strophic song forms
Among the recent recordings of Mahler’s Eighth Symphony, Valery Gergiev’s release on the LSO Live label is an excellent addition to the discography of this work.
While not unknown, the songs of Alexander von Zemlinsky (1871-1942) deserve to be heard more frequently.
Recorded on 5 and 6 May 2008 and 17 and 18 January 2009 at the Lisztzentrum (Raiding, Austria), this recent Bridge release makes available the piano-vocal versions of three song cycles by Gustav Mahler, Lieder eines fahrenden Gesellen, Rückert-Lieder, and Kindertotenlieder performed by mezzo-soprano Hermine Haselböck, accompanied by Russell Ryan.
Contraltos rarely achieve the acclaim and renown of sopranos. Assigned few leading roles in opera, they are condemned to playing the villain or the grandmother, or to stealing the castrati’s trousers in en travesti roles.
Following their 2011 Decca recording of Striggio’s Mass in 40 Parts (1566), I Fagiolini continue their quest to unearth lost treasures of the High Renaissance and early Baroque, with this collection of world-premiere recordings, ‘reconstructions’ and ‘reconstitutions’ of music by Giovanni and Andrea Gabrieli, Monteverdi, Palestrina, and their less well-known compatriots Viadana, Barbarino and Soriano.
Eternal Echoes is an album of khazones [Jewish cantorial music] for cantorial soloist, solo violin and a blended instrumental ensemble comprising a small orchestra and the Klezmer Conservatory Band.
Michael Tilson Thomas’s recording of Mahler’s Third Symphony is an outstanding contribution to the composer’s discography.
Oliver Knussen burst into British music with an unprecedented flourish. In 1967, the London Symphony Orchestra premiered Knussen’s First Symphony, with István Kertész scheduled to conduct.
Based on performances given in Summer 2010 at the Lucerne Festival, this recording of Beethoven’s Fidelio is an admirable recording that captures the vitality of the work as conducted by Claudio Abbado.
Stanisław Moniuszko (1819-1872) was one of the most popular composers of his day in Poland, and of the many works he wrote for the stage, two are performed from time to time, Halka (1848) and Strazny dwór [The Haunted Manor] (1865).
The Polish alto Jadwiga Rappé is a familiar voice in various stage and concert works, and the recent release of a selection of songs by Stanisław Moniuszko (1819-1872) is an opportunity to hear her performing artsongs.
Originally released on multiple discs in 1981 this reissue on two CDs is a comprehensive collection of art songs by Italian and French composers from the nineteenth and early twentieth centuries.
An exciting contribution to the discography of this popular opera, the live performance of Richard Strauss’s Salome from the Festspielhaus at Baden-Baden is a compelling DVD.
Released in late 2011, Deutsche Grammophon’s DVD of the new staging of Berg’s Lulu at the Gran Teatro del Liceu, Barcelona is an excellent contribution to the discography of this fascinating opera.
A recent release by the Metropolitan Opera, this two-disc set makes available on DVD the famous performance of Berg’s Lulu that was broadcast on 20 December 1980 as part of the PBS series “Live from the Met.”
The novels of Sinclair Lewis once shot across the American literary skies like comets, alarming and fascinating readers of that era, but their tails didn’t extend far behind them.
Once the province of only the most dedicated opera fanatics, mid-20th century recordings of privately taped live performances have become more widely available.
Flute players in opera orchestra around the world must look forward to the frequent appearances of Donizetti’s Lucia di Lammermoor, knowing that while the stage spotlight in the mad scene will be on the soprano, the orchestral spotlight will be on their instrument.
19 Sep 2007
Psalms for the Spirit
Psalmody, be it in the form of chanted recitations or anthem settings, lies close to the heart of liturgical singing, and this collection, “Psalms for the Spirit” brings together an engaging variety of both long familiar and recent psalms that celebrates the traditions and explores new directions.
Noel Edison’s forces offer highly polished renditions that show great care in preparation and skill in execution. (As a side note, it is not entirely clear just who “Noel Edison’s forces” are—the disc and cover material identify them as the Choir of St. John’s, Elora; the liner notes, however, describe them as the professional Elora Festival Singers. One imagines a degree of overlap, in any event, but the editorial slip is irksome.) The choir’s chanting is richly controlled, nicely articulate, and sensitively inflected. However, the price paid in order to achieve this level of control is an occasional trace of “undersinging” and constraint. With the Anglican chants this is not particularly problematic as their verbal priority invites a lightness and ease of production. Similarly, in anthems such as the introspective “O Pray for the Peace of Jerusalem” by Herbert Howells, the intimacy of the setting is well served by the close control. But despite all the good things—wonderful blend, subtlety of inflection and articulation—it remains hard to shake the occasional trace of constraint and the wish for more freedom of sound. This is most apparent in Parry’s war horse, “I was Glad,” trotted out as a rousing conclusion to the program; it is well sung, but also a bit underwhelming. Or in William Matthias’s sprightly “Let the Peoples Praise Thee, O God,” written for the 1981 wedding of the Prince of Wales and Lady Diana Spencer, the choir never yields to throw some unbuttoned caution to the wind, and the frolicsome lines are less rollicking for it.
The program itself is a well-crafted anthology of both anthems and chants, chestnuts (Garrett, Goss, and Samuel Wesley) and newer works (Chlicott, Larkin, and Edison). Of the newer pieces, Robert Chilcott’s “My Prayer” is particularly notable. Combining interesting textures, harmonies, and evocations of Purcell’s famous “Hear my prayer,” it is a challenging and welcome addition to a repertory that sometimes finds the shackle of tradition difficult to break.