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This recording, made in the Adrian Boult Hall at the Birmingham Conservatoire of Music in June 2014, is the fourth disc in SOMM’s series of recordings with Paul Spicer and the Birmingham Conservatoire Chamber Choir.
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.
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”
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
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.
24 Jan 2008
Wagner: Orchestral Hightlights from the Operas
As much as Richard Wagner espoused opera reform in his theoretical writings by bringing to his works for the stage a closer unity between music and text, his actual means of doing so at times involved the use of orchestral forces that sometimes overwhelmed the sung word.
With the veritable lexicons of motives that occur in his overtures and preludes, as well as thematic summaries in various interludes, the famous orchestral excerpts performed in concert communicate some aspects of the operas well. Yet under the baton of a solid Wagnerian likethe late Klaus Tennstedt, the music takes on added dimensions that convey the passionate expression found in the scores. This is already evident in the legacy of recordings that Tennstedt left, and this recently released DVD of a concert of the London Philharmonic on tour at Suntory Hall, Tokyo, on 18 October 1988, captures some of the dynamic aspects of the conductor on the podium.
While Tennstedt’s involvement with Wagner’s music is evident in the recordings that are already available, a concert video like this helps to document the artist interacting with his orchestra. Through a combination of shots that varying in size, this film shows the orchestra as a whole, various sections, and also close-ups of the conductor himself, in works Tennstedt was regarded highly as one of the finest interpreters of his time. As familiar as this music can be, a master like Tennstedt contributes nuance to the well-known overture to Wagner’s opera Tannhaüser with the subtle variations in tempo. At times the intensity emanates from the podium, with Tennstedt’s baton almost vibrating in his hands. Elsewhere, it is the facial expression that brings about the appropriate response, as in the evocative Bacchanale that follows the Overture in this concert. The fine sonics of this recording demonstrate the unified playing that Tennstedt did not demand, but drew out of the exceptional players of the London Philharmonic.
With an earlier work like Rienzi, the elements of grand opera emerge clearly in Tennstedt’s interpretation. Here the broad strokes are necessary, as the longer themes that Wagner used in this relatively early opera are stylistically removed from the idiom he would use in Tannhaüser or, later in Die Meistersinger von Nürnberg. With some of the longer note values and sustained pitches that are characteristic of Rienzi Tennstedt creates some tension that evoke the charged situations in the opera. Familiar in the concert hall, the overture to Rienzi receives a solid interpretation with Tennstedt, who makes the most of the score without overly emoting.
Yet it is in the excerpts from Wagner’s Ring der Nibelungen that Tennstedt seems to have been in his idiom, and the selections included in this concert represent his music-making very well. With “Dawn and Siegfried’s Rhine Journey” and “Siegfried’s Funeral Music,” Tennstedt connotes the sense of the scene painting that is a crucial element in the opera Götterdämmerung, from which they are taken. While maintaining decorum, Tennstedt brings out an almost raucous jubilation that stands in contrast to the somber and intense tone of the “Funeral Music” that follows the hero’s murder. Here the London Philharmonic plays passionately while rendering the score with an almost classic precision.
After such intensive music, Tennstedt included two further selections, the overture to the comic opera Die Meistersinger von Nürnberg, and the final piece on the concert, the famous “Ride of the Valykyries” from Die Walküre. Well known as it is, the placement of the “Ride” at the end of the program precludes any kind of encore – what could possibly follow that would not be anticlimactic. And it is appropriate for the video to end with the visage of Tennstedt in freeze-frame, an image that remains in memory long after hearing this well-played concert of the London Philharmonic on tour in Japan. The liner notes include Tennstedt’s comment that he is not on the podium just to “beat time,” and the craft that he brought to his work as conductor is evident in this filmed concert.
James L. Zychowicz