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Two new recordings from highly acclaimed specialists Opera Rara -
Gounod La Colombe and Donizetti Le Duc d'Albe.
It is not often that a major work by a forgotten composer gets rediscovered
and makes an enormously favorable impression on today’s listeners. That has
happened, unexpectedly, with Herculanum, a four-act grand opera by
Félicien David, which in 2014 was recorded for the first time.
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.
03 Feb 2008
J. S. Bach, arr. Robert Schumann. Johannes Passion.
In 1851 during his first season as music director in Düsseldorf, Robert Schumann presented a performance of Bach’s St. John Passion, and unsurprisingly adapted the score both to nineteenth-century taste and nineteenth-century practicalities.
There is, of course, a degree of irony in all of this, for it was mid-nineteenth-century musicians and scholars who began the landmark Bach Gesellschaft complete edition of the composer’s music: landmark in its scope and landmark in the pioneering model of scholarly “pure” editing it presented. The objective ideals of science would soon shape the nineteenth-century birth of modern music scholarship, and a rigorous approach to editing, shorn of adulteration, was a characteristic presage. At the same time, however, some nineteenth-century performances of Bach showed no hesitation to re-clothe the score lovingly in modern garb. Thus, Schumann’s score adds instruments—clarinets here, trumpets there—substitutes available instruments for those that were not—a solo viola replaces the solo viola da gamba in “Es ist vollbracht,” for instance—alters voice assignments—some tenor arias are sung by soprano—and makes various deletions in the score. Additionally, Schumann’s performance used fortepiano as the continuo instrument, especially prominent for its role in the large number of recitatives.
As an example of the degree of adaptation, the well-known aria, “Es ist vollbracht” shows Schumann’s respectful but creative hand. The original viola da gamba solo, played to the accompaniment of basso continuo alone is recast as a viola solo over low, brooding string harmonies; the heroic second section of the aria, adds trumpets to the orchestral flourishes to heighten the military sound of things. The Bachian details remain reasonably intact though we may perceive those details differently for the adjustment in color. The de-familiarization is an interesting way of meeting this “old friend” anew . . . interesting, and in selective ways gratifying. The brooding low strings of “Es ist vollbracht,” for instance, is not all that distant from certain Bach sonorities—one thinks of the divided viola parts in the early cantatas, for example--and here in the Passion, this later touch may well haunt my own future listening of Bach’s version of the aria. I doubt the later version will ever unseat the earlier—our historical sensitivities, if nothing else, are much too deeply entrenched for that—but hearing the aria with a touch of Romantic melancholy may serve to alert us anew to the affective depths we may find in Bach’s own language.
The performance is an impressive one. In general, Hermann Max and his forces seem to have started with a baroque sound and brought it chronologically forward a bit rather than have taken a later sound and tried to pull it back. This serves the performance well. The choir is flexible and clear; spry in fast passages and well proportioned in solemn moments. The soloists in the main are well-seasoned early music practitioners and we hear in their approach the refined articulative sense and shapely contours born of this specialty. Bach seems to trump Schumann in the vocal sound. Jan Kobow’s rendition of the evangelist’s role is brilliant—compellingly dramatic and wonderfully fluent, and the ease of his high range is remarkable. Similarly so the exquisite high register of Veronika Winter, beautifully controlled in the aria “Zerfliesse, mein Herze.”
One of the most startling differences in the Schumann version is the fortepiano accompaniment, here played by Christian Rieger. Through frequent arpeggiation and chordal reiteration he promotes a very satisfying forward motion to the line, welcome in any rendition of the work.
Schumann’s devotion to Bach is well-known, and though modern respect for Bach’s historical “otherness” would deem the arrangement a historical trespass, in Schumann’s world the adaptation serves only to further the devotion. According Schumann the integrity of his own historical “otherness,” we find in this arrangement much that will move and interest. And in the performance we find considerable accomplishment, indeed.