Recently in Recordings
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.
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.
09 Oct 2007
The Yves Becko Collection
This must be one of the most interesting collectors’ collections to have appeared in many a year. Personally I’ve always liked any singer from Fernando De Lucia to Rolando Villazon but I never was tempted to collect shellac and therefore didn’t have to contact Yves Becko.
Becko was a
Walloon engineer, one of the few Walloons able to speak acceptable Dutch, and
at the end of his too short life the owner of a magnificent collection of
20.000 shellac records (including extreme rarities on Pathé), lots of
cylinders etc. I know several collectors who had to deal with Becko and he
was not one to sell cheap or to be generous to other members of the tribe.
Anyway his wife and daughter sold the collection in its entirety to De koning
Boudewijn (king Baldwin in English and not Baudouin as they always mistakenly
call themselves) Foundation which handed the treasure to the Koninklijke
Bibliotheek (Royal Library) at the Kunstberg in Brussels where appropriate
measures will be taken to make it accessible.
Still it is a reality that in the matter of collectors’ records,
Foundation and Becko family succeeded in making some decisions which lessen
somewhat the pleasure of this important issue. The two CDs contain 60
interesting records and nowhere, not in the liner notes, not on the sleeve,
can one find a date. Granted it is not always easy to have an exact date of
recording but The Record Collector has proven for almost 60 years that with
some research one can come near. This is especially galling as I don’t know
who had the brilliant idea of putting all these selections in alphabetical
order per singer. Now we get an acoustic followed by an electric followed by
a cylinder followed by an acetate etc. Don’t try to look for evolution in
the style of singing or the art of recording. The booklet is very luxuriously
illustrated with many photographs but the notes themselves are far from
interesting. Though a lot of the singers are very obscure, there are no
biographical details. The buyer will have to purchase Dick Soper’s
‘Belgian Opera Houses and Singers’ and a complete set of Kutsch-Riemens
if he wants some details on the singers. Nevertheless page after page is
devoted to Mr. Becko (do we really have to know he liked Tony Poncet ?) and
the kind of records he collected. Maybe this kind of non-information was a
condition imposed by the family. A small essay on Belgian singers during the
shellac days is just an enumeration of names. The koning Boudewijn Foundation
is one of the last curiosities pretending that Belgium should stay as it is,
denying the huge cleft on every issue between Flemings and Walloons.
Therefore the Foundation should take care not to publish an essay that is
offensive to one of two peoples. The author, Frédéric Lemmers is constantly
referring to translations of songs and arias in Flemish. By now, Mr. Lemmers
should finally know and acknowledge that Dutch is the language of Flanders;
Flemish being a dialect known from Dunkirk (in France) to Middelburg (in the
Netherlands) but not in the former duchy of Brabant where I am living though
it is the heart of nowadays Flanders. I can assure Mr. Lemmers that the
non-French selections on the CDs are sung in excellent Dutch, understood by
everybody from Amsterdam to Brussels. This condescending attitude results in
some mistakes as well. There was never a tenor Joseph Sterkens ; it was Jef
Sterkens though ‘Joseph’ may well have been written on his birth
certificate as he was born during the Walloon colonization of Flanders (nor
is there a Joseph Fortuné Verdi, though these are the names on the birth
certificate too). The creator of Werther was not Van Dyck but Van Dijck as
proven by the tenor’s own signature.
Happily for the American collector, this will pale against the treasures
to be found on these CDs. The transfers are excellent, pitched during long
hours of work by my friend (a Walloon, would you believe it ?) Georges
Cardol. Georges is a teacher of physics and a talented amateur-baritone,
using the score, a piano and his gut feeling when pitching. He takes such
care that, not being a shellac guy myself, he succeeded in instilling doubts
in me when listening to some selections. Normally, I would have pronounced
the Valère Blouse a tone too high but knowing Cardol’s care I probably am
wrong. Was Blouse Flemish or Walloon ? some will ask. Neither. The producers
(Lemmers, Couvreur, Cardol ) sold the idea of these CDs to the Foundation by
telling them that it was an overview of Belgian singers and then they picked
out recordings of some of the most rare and interesting singers in the Becko
collection, a lot of them French.
The CDs start with four very fine recordings by Henri Albers, a Dutch
baritone while French singers like Blouse, Deschamps-Jehin, Dubois, Gilibert,
Gilly, Imbart, Leblanc, Saint-Cricq etc. are well represented. Therefore this
is foremost a collection of singers who sang in the opera houses of Brussels,
Ghent, Antwerp and Liège. Of course there are a lot of Flemish and Walloon
singers too, not all of them exceptionally talented but represented by
recordings which are extremely rare and almost not to be found elsewhere on
CD ( exceptions are well known French singers like Soulacroix who is on well
pitched “Truesound” but Saint-Cricq and Landouzy are only to be found on
notoriously bad “Malibran”.) Several names were completely unknown to me
and it doesn’t come as a surprise there are some dull dogs among them
(Dectéry: squeezed; Delvoye: great voice but rough style). But with others
we are in for a surprise: unknown Dubois who is almost as good as René
Verdière; baritone Emiel van Bosch whom I finally can appreciate due to the
fine transfers; Jeanne Montfort who made me sit up wit her Vivandière. Other
names will be unknown in the States though they still ring a bell in this
country but I’m sure every collector will be surprised by the wonderful
spinto voice of Claudine Boons, by Madeleine Farrère so much better and less
shrill than better known Clara Clairbert. Tenor Charles Fontaine has a whole
CD, produced by Georges Cardol for his friends only (lucky me) but deserves
to have an issue widely available. I admire the producers for avoiding
cliché names like Bovy, Clairbert and especially Ansseau which would make
this issue less interesting as they are already well represented on CD. And I
admire them for including items by great names, even if the singing is less
than great but now at last we can judge for ourselves if we appreciate the
dry tone of Georges Imbart de la Tour or Georgette Leblanc. And the creator
record of Flemish tenor Ernest van Dijck (“Pourquoi me réveiller” though
he actually created Werther in German) proves that his best years were gone
but that the voice was ample indeed. For 15 Euros this is a bargain and I
hope these CDs will sell well. Take care to ask for the English language
version. Welcome is the news that other labels will be allowed to mine the
Becko collection too.