23 Sep 2007
The Feast of St. Edward, King and Confessor at Westminster Abbey.
Westminster Abbey is surely many things to many people.
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. In recent days,
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” with herself!).
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 twentieth-century France
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 Magdalena Kožená.
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.’
Westminster Abbey is surely many things to many people.
To some it is an architectural icon of royal ceremony and London’s vibrant public life; to others, it is a gallery of monuments; to others still, it persists as a cherished site of prayer and liturgy. The many faces it wears are, of course, the legacy of Edward, the Confessor, who in the eleventh century rebuilt the Abbey to grand dimensions. As the Abbey church houses his shrine and, by association, has long been the church of the coronation, it is no surprise that the Feast Day of St. Edward (October 13) is observed at the Abbey with special attention. And it is special attention that also marks the quality of this recording, a broad sampling of things one might hear at Matins, Holy Eucharist, and Evensong at the Abbey on the Feast. The aural glimpse of a particular feast day is a format that the Abbey Choir has previously essayed with a Trinity Sunday recording, also from Hyperion (CDA67557). The format is something of a variation on the long familiar service recordings of English cathedrals and chapels—Evensong for Ascension, Evensong for Advent Sunday, etc.—keeping the same sense of occasion and cohesion, though offering a wider swath of repertory.
Much of the music here represents a “golden age”: canticles and an anthem by Purcell, preces and suffrages by William Smith (whose Amen to the closing collect is a wonderful jewel), and a psalm by Morley. Stanford and Crotch come along for the ride, as well; their relative distance from the golden age make the hue of their gilt paler, although both remain well within the tradition. And while these pieces are familiar ones, the Abbey recording is no less welcome for it. The choir’s dance-like lilt for Purcell, their expressive explorations of the soft dynamic range, and, in the main their very satisfying blend are all compelling. Occasionally last notes of phrases from the men show less control than perfect balance requires—the opening chant is a case in point—but this is a rare lapse. And occasionally treble solo passages sound unconvincing, a surprise given the overall strength of the trebles in the tutti. The shortcomings are fleeting and momentary, the delight in the performance long-lasting.
The Anglican affinity for tradition might have left the recording to bask in the rich aura of its golden age hues—a “gilty plea” that few would begrudge--but O’Donnell boldly adds to the mix two commissioned works, Jonathan Harvey’s 1995 Missa Brevis and Philip Moore’s “The King and the Robin” (2005). Harvey’s mass is full of challenging dissonance and thick clusters, spiced also by spoken declamations amid the singing. Its modernism is a welcome reassurance of the continuing vibrancy of the “tradition,” and the challenges of its idiom are brilliantly met by the choir. Philip Moore’s “The King and the Robin” sets a beautiful modern poem by poet laureate, Andrew Motion, interestingly rich in medieval evocations. If the text looks backwards, the music does not, as Moore offers rich harmonic textures, well-crafted solo lines and rhythmicized interweavings that are engagingly dynamic. The performance is again, a strong one, especially in the tuttis and the bass solo. However, the treble solo—the voice of the “robin”--ultimately sounds difficult. It is accurately rendered, but wanting in confidence, much as was the case in the treble solos from the older repertories, as well.
One might eagerly await the continuation of this format from Hyperion, and look forward to further offerings from the liturgical riches of the Abbey and its brilliant choir.