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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.
It would be condescending and perhaps even offensive to suggest that singing
traditional Spirituals is a rite a passage for artists of color, but the musical heritage of the United States has been greatly enriched by the performances and recordings of Spirituals by important artists such as Paul Robeson, Marian Anderson, Leontyne Price, Martina Arroyo, Shirley Verrett, Grace Bumbry, Jessye Norman, Barbara Hendricks, Florence Quivar, Kathleen Battle, Harolyn Blackwell, and Denyce Graves.
As a companion to their excellent Great Wagner Singers boxed set
compiled and released in celebration of the Wagner Bicentennial, Deutsche
Grammophon have also released Great Wagner Conductors, a selection of
orchestral music conducted by five of the most iconic Wagnerian conductors of
the Twentieth Century, extracted from Deutsche Grammophon’s extensive
There could be no greater gift to the Wagnerian celebrating the Master’s
Bicentennial than this compilation from Deutsche Grammophon, aptly entitled
Great Wagner Singers.
What better way for Masonic brothers, Wolfgang Amadeus Mozart and Emmanuel Shikaneder to disseminate Masonic virtues, than through the most popular musical entertainment of their age, a happy ending folktale that features a dragon, enchanting flutes and bells, mixed-up parentage, and a beautiful young princess in distress?
Since its first performance at the Teatro Santi Giovanni e Paolo during Venice’s 1643 Carnevale, Monteverdi’s L’Incoronazione di Poppea has been one of the most important milestones in the genesis of modern opera despite its 250 years of unmerited obscurity.
Though 2013 is the bicentennial of the births of Giuseppe Verdi and Richard Wagner, the releases of Cecilia Bartoli’s recording of Bellini’s Norma on DECCA, a new studio recording of Donizetti’s Caterina Cornaro from Opera Rara, and this première recording of Saverio Mercadante’s forgotten I due Figaro, suggest that this is the start of a summer of bel canto.
Recording Richard Wagner’s Der Ring des Nibelungen is for a
record label equivalent to a climber reaching the summit of Mount Everest: it is the zenith from which a label surveys its position among its rivals and appreciates an achievement that can define its reputation for a generation.
Few people who love opera in general and bel canto in particular have never heard the comment made by Lilli Lehmann, veteran of the inaugural Ring at Bayreuth in 1876, that singing all three of Wagner’s Brünnhildes—in Die Walküre, Siegfried, and
Götterdämmerung, respectively, all of which she sang to great acclaim—pales in comparison with singing the title rôle in Bellini’s Norma.
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.
20 Jan 2008
Deutsche Grammophon budget opera sets
Repackaging older recordings having become the primary focus of a classical recording company's business, Deutsche Grammophon budgeted some funds for art direction for its budget series called "Opera House" (although that appellation only appears in a link found on the back inside cover of the sets' booklets).
The theme seems to be iconic imagery in realistic photographs. For the fine Claudio Abbado-led La Cenerentola, the cover features a young washerwoman with wooden bucket and straw broom. She looks sad - hasn't anyone noticed her short skirt and cleavage-exposing blouse? Thankfully no model had to risk her life by posing amid the flaming pile of sticks for the Il Trovatore set.
Well, if such artwork catches the eyes of potential customers, their ears will be further rewarded with the performances contained in these sets. Abbado's elegant Cenerentola stars Teresa Berganza, who can sing sadly with great sweetness. When her big moment comes at the end of the opera, Berganza marries solid technique to refined joy. The bravura excitement of Cecilia Bartoli may be missed by some, but the Bartoli set, to the extent it is still available, remains at full price. Neither Bartoli nor Berganza have star tenors for the role of Don Ramiro, which has been sung with such beauty by Juan-Diego Florez, among current tenors. Luigi Alva on this 1971 DG set, while displaying command of the idiom, lacks tonal beauty. Paolo Montarsolo blusters as Don Magnifico, a character not easy to take on a recording. Renato Capecchi's Dandini slithers in and out of ensembles with appropriate slickness. The London Symphony orchestra and Scottish Opera Chorus make up for any perceived lack of Italian warmth with precision and style.
More than Italian warmth, fire burns through the Tullio Serafin Trovatore set. The cast listing in the booklet puts Ettore Bastianini's Conte di Luna first, and why not? His portrayal rages and aches with a passion that makes him much more than just the baritone villain. The "Il balen" alone makes this set precious, with gorgeous tone and supple, long-breathed lines. Sparks to light more than a few pyres fly when Bastianini meets the Azucena of Fiorenza Cossotto, near the start of her international career (the recording dates from 1962). Demonic in her low notes and fierce when she reaches high, she dominates the performance as only a truly great Azucena can.
The ostensible leads both give worthy performances, if ultimately outshone by both the stars mentioned above in this recording, and by other singers in their roles on other versions. Antonietta Stella's lovely soprano sometimes threatens to spread at the end of long lines or high-flying passages. Ultimately her very feminine sound carries her through. Carlo Bergonzi gives a more bel canto reading of Manrico than is typical. The character is a troubadour, after all, and Bergonzi makes it clear that Manrico can sing quite beautifully. He does fire up the engines for "Di quella pira," with an understandable if amusing delay before firing off the climatic high note at the aria's end.
Serafin proves again his mastery of Verdi, and the chorus and orchestra of La Scala perform with their expected conviction. The overly bright recording, however, lacks any sense of dramatic space.
Both sets come with detailed track listings that include plot summaries of the action at key moments, in English, French and German. Your reviewer could find no word of a link to an online libretto in the booklet. So these sets can be best recommended to opera fans who already own sets with more complete packaging. Both offer ample musical reasons for adding them to any collection.