Recently in Recordings
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.
With celebrations of the Verdi Bicentennial in full swing, there have been
many grumblings about the precarious state of Verdi singing in the world’s
major opera houses today.
In the thirty-five years immediately following its American première at the Metropolitan Opera in 1914, Italo Montemezzi’s ‘Tragic Poem in Three Acts’ L’amore dei tre re was performed in New York on sixty-six occasions.
Few operas inspire the kind of competing affection and controversy that have surrounded Mozart’s Così fan tutte almost since its first performance in Vienna in 1790.
During his career in film, opera, and operetta, Richard Tauber (1891 - 1948) enjoyed the sort of global fame that eludes all but the tiniest handful of ‘serious’ singers today.
Known principally for its two concert show-pieces for the leading lady, the success of Francesco Cilea’s Adriana Lecouvreur relies upon finding a soprano willing to take on, and able to pull off, the eponymous role.
17 Aug 2008
The festal days of Christmas, New Year’s, St. Stephen and St. Thomas Becket are rich in musical celebration, and this recording from the Orlando Consort brings together a wide range of organa, motets, chansons, and carols to remind us of that fact.
Their program is varied, perhaps to the point of straining the coherency of theme. Secular and sacred texts sit side by side, while the music’s chronology spans the Winchester Troper (c. 1000) and the sixteenth-century motets of Clemens non Papa, with visits to the 15-c English carol, a Dufay chanson, and music of the late 14-c Ars subtilior along the way. Additionally, the text theme itself is diverse—apart from proximity in the calendar, what do the Feasts of Becket and the proto-martyr Stephen have to do with Christmas, medieval or otherwise?
The varied repertory here also seems to underscore that the ensemble—naturally enough—is more at home in some styles than others; generally speaking, it is the earlier pieces that fare the best. The full and vibrant singing is well matched to the expansiveness of the Acquitanian polyphony (“O primus homo corruit,” and “Lux refulget”), and rhythmic panache engagingly enlivens both the robust conductus, “Annus renascitur” and the melismatic passages of Dufay’s “Ce jour de l’an,” where lombardic syncopations invite and receive appropriate verve. Equally impressive is the consort’s mastery of the complex, anonymous “De quan qu’on peut,” a subtilior work whose signature rhythmic density is handled with convincing ease. Additionally, in works like Arnold de Lantins’ “De quan qu’on peut,” the consort is much at home with courtly grace, and the distinctive timbres of the individual singers allow one to savor the richness of the counterpoint.
However, the sixteenth-century pieces are perhaps less successful, at least to ears drawn to a leaner purity of tone. The fullness and individuality of tone is at times attractive here, as in the duet sections of Clemens’ lengthy “Nato canunt omnia,” but in tutti contexts, these characteristics seem to constrain other expressive elements that might have come to the fore.
One of the riches of the recording is the consort’s impressive facility with historical, regional pronunciations, a facility that adds much color to the performance and helps to punctuate the variety of the program itself. Medieval Christmas is devoted to that variety, offering aural glimpses of late-December festivities in an array of contexts. The earlier glimpses are the best of the lot, though all will surely gratify.