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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.
02 Mar 2008
The Sea Hawk and Deception
A typical film soundtrack today might not fill the length of a CD, while being padded with any pop music hits for which the producers would cough up the money for the rights. As often as not the scoring would...
A typical film soundtrack today might not fill the length of a CD, while being padded with any pop music hits for which the producers would cough up the money for the rights. As often as not the scoring would be light, with a tinkly piano/synth background. The Naxos series "Film Music Classics" takes listeners back to another era, with full orchestrations of melodically rich, evocative music. And there could be no better example than the two disc set which features Erich Wolfgang Korngold's full score to The Sea Hawk - almost 110 minutes of music. That should be enough to entice any fan of classic film scores, but Naxos adds on 30 minutes of music from the Korngold score for Deception, which includes a mini (7 minutes) cello concerto.
Korngold's The Sea Hawk works as a suite, with his brassy themes appearing in various guises over the course of the score. As would be expected, the music for action sequences tends to rely on rapid, ascending figures, and a little goes a long way. But there are also extended lyric passages, as well as brassy heroic music of a kind that clearly foreshadows the popular John Williams's scores for George Lucas and Steven Spielberg films. The first CD ends with the lovely "Maria's song," sung in barely recognizable English by soprano Irina Romishevskaya. Compared to the first disc, CD2 has a few more of the briefer cues that characterize many film scores. However, most of the tracks are over 3 minutes in length, so that the score hangs together. It's not profound music, but it delights the ear.
Deception, a lurid vehicle for Bette Davis and Claude Raines, gets a string-rich outpouring, with a lovely tune sometimes clouded over with chromatic passages that suggest Korngold's perhaps frustrated impulses as a composer of so-called "serious" music. He gets at least a few extended minutes to flex his compositional muscles in the abbreviated cello concerto that closes the disc, with cellist Alexander Zagorinsky's tone alternately sweet and impassioned.
Naxos supplies a generous 24-page booklet, with long essays about the films and also a tracking guide for each of the scores that connects the music to the storyline. John Morgan also contributes a note, detailing the score restoration he prepared to enable the recording to be made.
William Stromberg has led the Moscow Symphony Orchestra in many of the recordings of film scores for Naxos, and the performances due credit to the quality of the music. Never mind the bargain price, Naxos has simply released an exciting, enjoyable recording Lovers of film music will race out for it, and anyone anxious to hear some wonderfully melodic 20th century orchestral music should be right on their heels.