Recently in Recordings
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.
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.
27 Nov 2007
Johann Pachelbel. Arien & Concerti
Although few composers have been so closely associated with a single work, Johann Pachelbel, whose canon for three violins has achieved canonical ubiquity, was a prolific composer with a number of vocal works to his credit.
This present recording brings together a number of them written for both devotional use and secular occasions, such as weddings, name days, and salutes to patrons and teachers. Most are strophic airs for one or two singers and strings, the latter providing interludes that serve to punctuate and articulate the structural boundaries of the vocal setting. Occasionally the interludes are particularly rich in sonority—“Mein Leben, dessen Kreutz” and “Augen, streuet Perlen Tränen” use four violas, for instance—and often they are engagingly rollicking.
The concertos on the recording are through-composed works, affording more expressive range for singer and instrumentalist alike, intertwining both in equal measure of soloistic writing. In some instances the concertos are cantata-like with multiple sections, including triple-meter lilting airs, as in “Ach Herr, wie ist meiner Feinde so viel,” and the instrumental writing can be floridly soloistic, as in the scordatura violin part to “Christ ist erstanden.” Here, and in “Ach Herr, wie ist meiner Feinde so viel,” the unflaggingly stylish playing of Ingrid Seifert of London Baroque is impressively on display.
Somewhat singular among the arias and concertos is the aria “Mœcenas lebet noch,” a salute to a person whose likely high rank elicited the scoring for obligatto trumpet. Michael Maisch performs this part with a compelling degree of vocality, and the tunefulness of the aria has a gratifying lilt, a lilt captured with animated relish in many of the arias in the collection. If “Mœcenas lebet noch” is singular, nevertheless most of the arias are cut of the same cloth, and the similarity is underscored here by the repetition of the strophic form. Some of the arias survive with only one stanza of text, and given the uniformity of the style, one might wonder at their inclusion; fragments, they are of necessity brief, but in their brevity they also contribute little that is new. Archivally it is welcome to have them recorded, but programmatically they seem a bit anomalous.
The performers are an impressive assembly. Emma Kirkby continues to command the amazingly clear articulation that has characterized her singing for many decades, and the rapid passage work here is wonderfully fluent. Tenor Jan Kobow is strong and intense, though he also has some fine expressive forays into the soft range in “Wie nichtig, ach wie flüchtig.” The most memorable singing is from bass Klaus Mertens, whose rounded tone and flexible agility offers much to savor.
The collection Arien & Concerti provides many rewarding moments. Programmatically the generic similarity between the arias may suggest it is more a recording to sample than to listen to straight through, but the sampling (or the larger serving) will not fail to gratify.