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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.
Alfredo Kraus, one of the most astute artists in operatic history in terms of careful management of technique and vocal resources, once said in an interview that ‘you have to make a choice when you start to sing and decide whether you want to service the music, and be at the top of your art, or if you want to be a very popular tenor.’
In generations past, an important singer’s first recording of Italian arias would almost invariably have included the music of Verdi.
06 May 2008
Karajan: The Music, the Legend.
At the centenary of the birth of the conductor Herbert von Karajan various commemorations are occurring, an among them is the concise CD and DVD release by Deutsche Grammophon, with both discs bound into a booklet that includes a short prose tribute to the man illustrated with some well-chosen photographs from various parts of his career.
The audio selections on CD along with the videos on the DVD represent Karajan’s legacy on various recordings issued by Deutsche Grammophon, for which the conduct led many fine performances, along with some materials not previously released. While some of the music is presented in its entirety, as with the film of Karajan conducting Beethoven’s Fifth Symphony, or the recordings on CD of Brahms’s Fourth Symphony and Bach’s Concerto for Two Violins (all with the Berlin Philharmonic), other pieces are self-contained. The Concerto for Two Violins, BWV 1043, is just one example of Karjan’s exploration of Baroque music. While it does not reflect the kind of performance-practice in use at the end of the twentieth century, the recording demonstrates the approach Karajan would use to bring this music to the idiom in which he worked. As such, it also brings to mind other recordings he made, including a memorable St. Matthew Passion and also the B-minor Mass. Those, in turn, evoke memories of his treatment of choral forces in various performances – at different times in his career – of Beethoven’s Ninth Symphony.
All in all, this compilation serves Karajan well illustrating some of his fine work with the Berlin Philharmonic, the orchestra with which he was associated for many years and which he helped to shape during his tenure as its director. Likewise, the video selections capture some fine images of Karajan at the podium from various points in his maturity, including a spirited performance of the Scherzo from Tchaikovsky’s Fourth Symphony, which dates from 1973. The latter is just one example of the fine effort that Karajan brought in continuing the tradition of Romantic music, which he rendered with a sense of freshness and exuberance that made his concerts memorable.
As much as Karajan was a familiar figure in the concert hall, he was an equally impressive force in the pit of the opera house, where he led many fine performances of some of the major companies in the world. The DVD includes just two excerpts, critical scenes from Leoncavallo’s Pagliacci and Wagner’s Das Rheingold, but he performed many works that are preserved on film, including some exemplary performances of operas by Verdi and Mozart from the Salzburg Festival. While those latter works are not found on this set – it would be difficult to include samples of everything Karajan did well on just two discs without lapsing into the proverbial sound-bite – various DVDs are available to illustrate his contributions to the recorded legacy, including some stunning performances of Don Giovanni and Don Carlos. Those interested in investigating or, for some, revisiting, Karajan’s operas on DVD will find some excellent choices in the selected discography that is included in this release. The selection found on the DVD is a reminder of the videos that Karajan made and for those who are not yet familiar with them, offer a fitting introduction. The scene from the end of Wagner’s Das Rheingold is an excellent example of Karajan’s sometimes tacit presence on impressive DVD performances, and those who find it compelling may want to seek out other such recordings that hold up well. Beyond the filmed operas listed there, the CDs listed include a number of outstanding recordings, such as his famous Ring cycle, along with a still remarkable Parsifal. A cursory examination of the discography included in the booklet will reveal a list of solid recordings that merit further attention.
Preserved by Deutsche Grammophon, the sound on both discs is consistently well recorded and the reproduction fine. This is evident in the 1963 recording of Brahms’ Fourth Symphony that dates to over half a century ago and which remains attractive and dynamic. Other tracks found in this commemorative release are equally strong examples of Karajan’s lifelong commitment to his art, an element that has become integral to the recorded legacy of a generation. By including both sound examples and video ones in this two-disc set Deutsche Grammophon has created a fitting tribute to Karajan, and it serves the conductor well by having enough examples of sufficient length to reflect several aspects of his craft.
James L. Zychowicz