Recently in Recordings

Henry Purcell, Royal Welcome Songs for King Charles II Vol. III: The Sixteen/Harry Christophers

The Sixteen continues its exploration of Henry Purcell’s Welcome Songs for Charles II. As with Robert King’s pioneering Purcell series begun over thirty years ago for Hyperion, Harry Christophers is recording two Welcome Songs per disc.

Anima Rara: Ermonela Jaho

In February this year, Albanian soprano Ermonela Jaho made a highly lauded debut recital at Wigmore Hall - a concert which both celebrated Opera Rara’s 50th anniversary and honoured the career of the Italian soprano Rosina Storchio (1872-1945), the star of verismo who created the title roles in Leoncavallo’s La bohème and Zazà, Mascagni’s Lodoletta and Puccini’s Madama Butterfly.

Requiem pour les temps futurs: An AI requiem for a post-modern society

Collapsology. Or, perhaps we should use the French word ‘Collapsologie’ because this is a transdisciplinary idea pretty much advocated by a series of French theorists - and apparently, mostly French theorists. It in essence focuses on the imminent collapse of modern society and all its layers - a series of escalating crises on a global scale: environmental, economic, geopolitical, governmental; the list is extensive.

Ádám Fischer’s 1991 MahlerFest Kassel ‘Resurrection’ issued for the first time

Amongst an avalanche of new Mahler recordings appearing at the moment (Das Lied von der Erde seems to be the most favoured, with three) this 1991 Mahler Second from the 2nd Kassel MahlerFest is one of the more interesting releases.

Max Lorenz: Tristan und Isolde, Hamburg 1949

If there is one myth, it seems believed by some people today, that probably needs shattering it is that post-war recordings or performances of Wagner operas were always of exceptional quality. This 1949 Hamburg Tristan und Isolde is one of those recordings - though quite who is to blame for its many problems takes quite some unearthing.

Women's Voices: a sung celebration of six eloquent and confident voices

The voices of six women composers are celebrated by baritone Jeremy Huw Williams and soprano Yunah Lee on this characteristically ambitious and valuable release by Lontano Records Ltd (Lorelt).

Rosa mystica: Royal Birmingham Conservatoire Chamber Choir

As Paul Spicer, conductor of the Royal Birmingham Conservatoire Chamber Choir, observes, the worship of the Blessed Virgin Mary is as ‘old as Christianity itself’, and programmes devoted to settings of texts which venerate the Virgin Mary are commonplace.

The Prison: Ethel Smyth

Ethel Smyth’s last large-scale work, written in 1930 by the then 72-year-old composer who was increasingly afflicted and depressed by her worsening deafness, was The Prison – a ‘symphony’ for soprano and bass-baritone soloists, chorus and orchestra.

Songs by Sir Hamilton Harty: Kathryn Rudge and Christopher Glynn

‘Hamilton Harty is Irish to the core, but he is not a musical nationalist.’

After Silence: VOCES8

‘After silence, that which comes closest to expressing the inexpressible is music.’ Aldous Huxley’s words have inspired VOCES8’s new disc, After Silence, a ‘double album in four chapters’ which marks the ensemble’s 15th anniversary.

Beethoven's Songs and Folksongs: Bostridge and Pappano

A song-cycle is a narrative, a journey, not necessarily literal or linear, but one which carries performer and listener through time and across an emotional terrain. Through complement and contrast, poetry and music crystallise diverse sentiments and somehow cohere variability into an aesthetic unity.

Flax and Fire: a terrific debut recital-disc from tenor Stuart Jackson

One of the nicest things about being lucky enough to enjoy opera, music and theatre, week in week out, in London’s fringe theatres, music conservatoires, and international concert halls and opera houses, is the opportunity to encounter striking performances by young talented musicians and then watch with pleasure as they fulfil those sparks of promise.

Carlisle Floyd's Prince of Players: a world premiere recording

“It’s forbidden, and where’s the art in that?”

John F. Larchet's Complete Songs and Airs: in conversation with Niall Kinsella

Dublin-born John F. Larchet (1884-1967) might well be described as the father of post-Independence Irish music, given the immense influenced that he had upon Irish musical life during the first half of the 20th century - as a composer, musician, administrator and teacher.

Haddon Hall: 'Sullivan sans Gilbert' does not disappoint thanks to the BBC Concert Orchestra and John Andrews

The English Civil War is raging. The daughter of a Puritan aristocrat has fallen in love with the son of a Royalist supporter of the House of Stuart. Will love triumph over political expediency and religious dogma?

Beethoven’s Choral Symphony and Choral Fantasy from Harmonia Mundi

Beethoven Symphony no 9 (the Choral Symphony) in D minor, Op. 125, and the Choral Fantasy in C minor, Op. 80 with soloist Kristian Bezuidenhout, Pablo Heras-Casado conducting the Freiburger Barockorchester, new from Harmonia Mundi.

Taking Risks with Barbara Hannigan

A Louise Brooks look-a-like, in bobbed black wig and floor-sweeping leather trench-coat, cheeks purple-rouged and eyes shadowed in black, Barbara Hannigan issues taut gestures which elicit fire-cracker punch from the Mahler Chamber Orchestra.

Alfredo Piatti: The Operatic Fantasies (Vol.2) - in conversation with Adrian Bradbury

‘Signor Piatti in a fantasia on themes from Beatrice di Tenda had also his triumph. Difficulties, declared to be insuperable, were vanquished by him with consummate skill and precision. He certainly is amazing, his tone magnificent, and his style excellent. His resources appear to be inexhaustible; and altogether for variety, it is the greatest specimen of violoncello playing that has been heard in this country.’

Those Blue Remembered Hills: Roderick Williams sings Gurney and Howells

Baritone Roderick Williams seems to have been a pretty constant ‘companion’, on my laptop screen and through my stereo speakers, during the past few ‘lock-down’ months.

Bruno Ganz and Kirill Gerstein almost rescue Strauss’s Enoch Arden

Melodramas can be a difficult genre for composers. Before Richard Strauss’s Enoch Arden the concept of the melodrama was its compact size – Weber’s Wolf’s Glen scene in Der Freischütz, Georg Benda’s Ariadne auf Naxos and Medea or even Leonore’s grave scene in Beethoven’s Fidelio.

OPERA TODAY ARCHIVES »

Recordings

Jonas Kaufmann—Romantic Arias
18 Feb 2008

Jonas Kaufmann—Romantic Arias

Jonas Kaufmann’s debut album is a treat to the ears of opera lovers.

Jonas Kaufmann (tenor), Prague Philharmonic Orchestra, Marco Armiliato (cond.)

Decca 475 9966 [CD]

$15.99  Click to buy

This young German singer is making a fine reputation for himself in European opera houses. He has appeared at the Metropolitan Opera House in New York most recently as Alfredo in La Traviata, which he is scheduled to reprise in March of this year.

So this is an eagerly awaited album on both sides of the pond. And the wait was worth it.

There are 13 tracks on the disc that represent a variety of styles. The standards are there, “Che gelida manina” from La Boheme, “La Fleur que tu m’avais jetee” from Carmen, and “E Lucevan le stelle” from Tosca. These are well sung and totally fit the title of the album in evoking the romantic feelings that their composers intended.

This tenor is building a reputation on a broader scale than those familiar arias would indicate. Some of the composers on this disc range from Flotow, to Verdi, to Wagner and include Berlioz and Gounod and Massenet. Kaufmann is a versatile singer who, here, demonstrates where his skills and talent may take him in the future. He has sung Parsifal and Florestan (Fidelio) on stage, which is even more testimony to his versatility.

The Prize Song from Die Meistersinger is beautifully rendered, and I hope it might be a precursor to his singing that role down the road.

Each of the selections on the album requires a different degree of passion and Kaufmann gives us that. The gentle song of love to Mimi in La Boheme that rings with his new found passion for her is contrasted with the beautiful “Pourquoi mr revellier” from Werther, an aria of unfulfilled love and passion and the precursor to Werther’s death. Kaufmann clearly understands the different passionate needs of the arias and fulfills those emotions..

I was particular impressed with his attention to the words and his diction in the three languages sung on this album. I want a singer to sing the words and not slur them so they are unrecognizable as language. Kaufmann is as clear in his native German as in he French and Italian.

There is a rich, dark and intriguing quality to Kaufmann’s voice. His commitment to the works he is singing is readily apparent. I suspect that over time the darker tenor roles such as Cavaradossi and Don Carlo will be more his style than the lighter Alfredo. I found his delivery effortless and his demeanor very romantic indeed!

Missing from this debut effort is anything by Mozart. Kaufmann includes many of the composer’s work in his repertoire. One would hope that the lack of any Mozart on this disc might be a precursor to a disc of Mozart or German composers in the future. So if anyone at Decca is listening………..

This is a tenor for the 21st Century who has a fresh sound and some fresh ideas and will grace our opera houses for a long time. His good looks as well as his beautiful voice will continue to give rise to the romantic leading man image that this album is all about.

Cheryl Dowden

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):