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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.
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.