Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Recordings

Camille Saint-Saens: Mélodies avec orchestra

Saint-Saëns Mélodies avec orchestra with Yann Beuron and Tassis Christoyannis with the Orchestra della Svizzera Italiana conducted by Markus Poschner.

Les Funérailles Royales de Louis XIV recreated at Versailles

Les Funérailles Royales de Louis XIV, with Ensemble Pygmalion, conducted by Raphaël Pichon now on DVD/Blu -ray from Harmonia Mundi. This captures the historic performance at the Chapelle Royale de Versailles in November 2015, on the 300th anniversary of the King's death.

Tenebræ Responsories
recording by Stile Antico

Tomas Luis de Victoria’s Tenebrae Responsories are designed to occupy the final three days of Holy Week, and contemplate the themes of loss, betrayal and death that dominate the Easter week. As such, the Responsories demand a sense of darkness, reflection and depth that this new recording by Stile Antico - at least partially - captures.

Mahler Symphony no 9, Daniel Harding SRSO

Mahler Symphony no 9 in D major, with Daniel Harding conducting the Swedish Radio Symphony Orchestra, new from Harmonia Mundi. A rewarding performance on many levels, not least because it's thoughtfully sculpted, connecting structure to meaning.

A Splendid Italian Spoken-Dialogue Opera: De Giosa’s Don Checco

Never heard of Nicola De Giosa (1819-85), a composer who was born in Bari (a town on the Adriatic, near the heel of Italy), but who spent most of his career in Naples? Me, neither!

Winterreise by Mark Padmore

Schubert's Winterreise is almost certainly the most performed Lieder cycle in the repertoire. Thousands of performances and hundreds of recordings ! But Mark Padmore and Kristian Bezuidenhout's recording for Harmonia Mundi is proof of concept that the better the music the more it lends itself to re-discovery and endless revelation.

The Epic of Gilgamesh - Bohuslav Martinů

New recording of the English version of Bohuslav Martinů's The Epic of Gilgamesh, from Supraphon, the Czech Philharmonic Orchestra conducted by Manfred Honeck. This is the world premiere recording of the text in English, the original language in which it was written.

Maybe the Best L’heure espagnole Yet

The new recording, from Munich, has features in common with one from Stuttgart that I greatly enjoyed and reviewed here: the singers are all native French-speakers, the orchestra is associated with a German radio channel, we are hearing an actual performance (or in this case an edited version from several performances, in April 2016), and the recording is released by the orchestra itself or its institutional parent.

Stéphanie d’Oustrac in Two Exotic Masterpieces by Maurice Ravel

The two works on this CD make an apt and welcome pair. First we have Ravel’s sumptuous three-song cycle about the mysteries of love and fantasies of exotic lands. Then we have his one-act opera that takes place in a land that, to French people at the time, was beckoningly exotic, and whose title might be freely translated “The Nutty and Delightful Things That Can Happen in Spain in Just One Hour”.

Stefano Secco: Crescendo

I had never heard of Stefano Secco before receiving this CD. But I see that, at age 34, he already has had a substantial career, singing major roles at important houses throughout Europe and, while I was not paying attention, occasionally in the US.

French orientalism : songs and arias, Sabine Devieilhe

Mirages : visions of the exotic East, a selection of French opera arias and songs from Sabine Devieilhe, with Alexandre Tharaud and Les Siècles conducted by François-Xavier Roth, new from Erato

Hans Werner Henze Choral Music

Hans Werner Henze works for mixed voice and chamber orchestra with SWR Vokalensemble and Ensemble Modern, conducted by Marcus Creed. Welcome new recordings of important pieces like Lieder von einer Insel (1964), Orpheus Behind the Wire (1984) plus Fünf Madrigale (1947).

Bettina Smith, Norwegian Mezzo, in Songs by Fauré and Debussy

Here are five complete song sets by two of the greatest masters of French song. The performers are highly competent. I should have known, given the rave reviews that their 2015 recording of modern Norwegian songs received.

Étienne-Nicolas Méhul: Uthal

The opera world barely knows how to handle works that have significant amounts of spoken dialogue. Conductors and stage directors will often trim the dialogue to a bare minimum (Magic Flute), have it rendered as sung recitative (Carmen), or have it spoken in the vernacular though the sung numbers may often be performed in the original language (Die Fledermaus).

A New Anna Moffo?: The Debut Disc of Aida Garifullina

Here is the latest CD from a major label promoting a major new soprano. Aida Garifullina is utterly remarkable: a lyric soprano who also can handle coloratura with ease. Her tone has a constant shimmer, with a touch of quick, narrow vibrato even on short notes.

Il sogno di Scipione: a new recording from Classical Opera

With this recording of Mozart’s 1771 opera, Il sogno di Scipione (Sicpio’s Dream), Classical Opera continue their progress through the adolescent composer’s precocious achievements and take another step towards the fulfilment of their complete Mozart opera series for Signum Classics.

Mozart’s Requiem: Pierre-Henri Dutron Edition

The stories surrounding Mozart’s Requiem are well-known. Dominated by the work in the final days of his life, Mozart claimed that he composed the Requiem for himself (Landon, 153), rather than for the wealthy Count Walsegg’s wife, the man who had commissioned it in July 1791.

Schumann and Mahler Lieder : Florian Boesch

Schumann and Mahler Lieder with Florian Boesch and Malcolm Martineau, now out from Linn Records, following their recent Schubert Winterreise on Hyperion. From Boesch and Martineau, excellence is the norm. But their Mahler Lieder eines fahrenden Gesellen takes excellence to even greater levels

Hans Werner Henze : Kammermusik 1958

"....In lieblicher Bläue". Landmark new recordings of Hans Werner Henze Neue Volkslieder und Hirtengesänge and Kammermusik 1958 from the Scharoun Ensemble Berlin, with Andrew Staples, Markus Weidmann, Jürgen Ruck and Daniel Harding.

Elder conducts Lohengrin

There have been dozens of capable, and more than capable, recordings of Lohengrin. Among the most-often praised are the Sawallisch/Bayreuth (1962), Kempe (1963), Solti (1985), and Abbado (1991). Recording a major Wagner opera involves heavy costs that a record company may be unable to recoup.

OPERA TODAY ARCHIVES »

Recordings

William Byrd: Laudibus in sanctis
30 Mar 2008

William Byrd. Laudibus in sanctis.

William Byrd’s affinity for the Latin motet found various outlets.

William Byrd: Laudibus in sanctis

The Cardinall’s Musick; Andrew Carwood, Director.

Hyperion CDA6758 [CD]

$21.99  Click to buy

The three volumes of Cantiones Sacrae (1575, with Thomas Tallis, 1589, and 1591) and two volumes of Gradualia (1605 and 1607), polyphonic settings of the Mass Propers of the Roman Rite, are an abundant trove and document both the Latin motet’s persistence in Anglican contexts as well as Byrd’s own persistence in musical Romanism. This present recording, the tenth in a series of Byrd’s works by Andrew Carwood and The Cardinall’s Musick, presents the polyphonic Propers for Lady Mass in Eastertide from the 1605 Gradualia and diverse motets from the 1591 Cantiones Sacrae. Certain of the texts seem particularly resonant with the plight of Roman Catholics in Elizabethan England. For example, the motet, “Tribulatio proxima est,” with its references to tribulation, insults, and terrors and a final plea that the Lord as deliverer will not delay, seems autobiographically poignant for Byrd who, close to the time of its publication, relocated away from London to become part of a recusant community in Essex. Similarly, the “Salve Regina,” both in its Marian identity and its lamentative reference to “this vale of tears,” also strikes a distinctively Roman chord. The religious history of late sixteenth-century England is one of many layers, and these Latin works, penned by a member of Elizabeth’s Chapel Royal, are enduring reminders of the era’s religious complexity.

The Cardinall’s Musick brings a compelling fluency to their performances of Byrd, born of their long-standing commitment to his music. Their sound is both exquisitely clear and vibrantly alive, fluid in its motion and satisfyingly well-controlled. (Such beautiful final chords!) That said—and enthusiastically so—much of the music is also sung with notable fullness of sound. There are, indeed, welcome lulls, such as the “pacem Deus” of “Alleluia. Ave Maria,” or the “genuisti” of “Beata es, virgo,” but in the main there is a full richness in the sound that may lose some of its expressive power when maintained at great length. And given the busyness of much of the counterpoint, a more dynamically varied approach would serve well.

One of the most memorable renditions on the recording is the Compline prayer, “Visita quaesumus, Domine,” memorable especially for the ensemble’s lighter and more contoured approach, elicited by the nocturnal context of its words and Byrd’s scoring without a low bass voice. The “Regina caeli” is also memorable both for its three-voice texture—a change of pace from the richness of its surrounding works—and also for the ensemble’s engagingly buoyant singing of the “resurrexit” figures.

Steven Plank

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):