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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.
It would be condescending and perhaps even offensive to suggest that singing
traditional Spirituals is a rite a passage for artists of color, but the musical heritage of the United States has been greatly enriched by the performances and recordings of Spirituals by important artists such as Paul Robeson, Marian Anderson, Leontyne Price, Martina Arroyo, Shirley Verrett, Grace Bumbry, Jessye Norman, Barbara Hendricks, Florence Quivar, Kathleen Battle, Harolyn Blackwell, and Denyce Graves.
As a companion to their excellent Great Wagner Singers boxed set
compiled and released in celebration of the Wagner Bicentennial, Deutsche
Grammophon have also released Great Wagner Conductors, a selection of
orchestral music conducted by five of the most iconic Wagnerian conductors of
the Twentieth Century, extracted from Deutsche Grammophon’s extensive
There could be no greater gift to the Wagnerian celebrating the Master’s
Bicentennial than this compilation from Deutsche Grammophon, aptly entitled
Great Wagner Singers.
What better way for Masonic brothers, Wolfgang Amadeus Mozart and Emmanuel Shikaneder to disseminate Masonic virtues, than through the most popular musical entertainment of their age, a happy ending folktale that features a dragon, enchanting flutes and bells, mixed-up parentage, and a beautiful young princess in distress?
Since its first performance at the Teatro Santi Giovanni e Paolo during Venice’s 1643 Carnevale, Monteverdi’s L’Incoronazione di Poppea has been one of the most important milestones in the genesis of modern opera despite its 250 years of unmerited obscurity.
Though 2013 is the bicentennial of the births of Giuseppe Verdi and Richard Wagner, the releases of Cecilia Bartoli’s recording of Bellini’s Norma on DECCA, a new studio recording of Donizetti’s Caterina Cornaro from Opera Rara, and this première recording of Saverio Mercadante’s forgotten I due Figaro, suggest that this is the start of a summer of bel canto.
Recording Richard Wagner’s Der Ring des Nibelungen is for a
record label equivalent to a climber reaching the summit of Mount Everest: it is the zenith from which a label surveys its position among its rivals and appreciates an achievement that can define its reputation for a generation.
Few people who love opera in general and bel canto in particular have never heard the comment made by Lilli Lehmann, veteran of the inaugural Ring at Bayreuth in 1876, that singing all three of Wagner’s Brünnhildes—in Die Walküre, Siegfried, and
Götterdämmerung, respectively, all of which she sang to great acclaim—pales in comparison with singing the title rôle in Bellini’s Norma.
Paul Dukas’ Ariane et Barbe-Bleue, first heard in 1907, once seemed important. Arturo Toscanini conducted the Met premiere in 1911 with Farrar and later arranged some of its music for a 1947 recording with his NBC Symphony.
17 Aug 2008
SMETANA: Dvě vdovy (The Two Widows)
Bedrich Smetana (1824-1884) is, perhaps known best for his opera The Bartered Bride (1863, rev. 1870), a touchstone of comic opera fused with eastern-European nationalism and, as much as that work has much to offer, his other efforts deserve attention.
Among his eight operas, The Two Widows (Dvě vdovy) stands in the center of those works. After The Bartered Bride (Prodaná nevěsta) Smetana produced two operas on historic topics, Dalibor (1865, rev. 1870) and Libuse (1869-72), and then took inspiration from the contemporary dramatist Pierre-Félicien Mallefille, whose romantic comedy Les deux veuves (1860) was popular in Paris and was available in Czech translation by Emmanuel František Züngel (1840-1895). A century after its premiere, the opera is practically unknown except in the Czech Republic, and even then, this recently issued CD of the work reproduces an LP recording based on live performances given between 28 November and 13 December 1956.
Smetana’s operas are intriguing works because each differs from the others in various ways. Thus, unlike Smetana’s earlier works in the genre The Brandenburgers in Bohemia (Braniboři v Čechách) or The Bartered Bride, with their folk-based humor, The Two Widows is a more cosmopolitan romantic comedy, a perspective that is connected with its French dramatic source. The plot itself deals with the arrival of a young man into the lives of two widows, Karolina and her cousin Anežka. At Karolina’s estate, the celebration of the harvest is complicated by a young man who is aimlessly shooting. In contrast to her more ascetic cousin Anežka, the wealthy and beautiful Karolina approaches the situation with a sense of humor by having Karolina’s gamekeeper Mumlal bring the young man to the house for a mock trial, since Karolina seems intrigued by the youth, Ladislav. They imposed upon Ladislav a fine to be given to the poor and also require him to stay in the manor house for a certain time. Anticipating the dénouement, the first act ends with a paean to love. The second act echoes to a degree Mozart’s Così fan tutte, with the two widows discussing and, eventually, working out their romantic prospects. Since Karolina had been encouraging Anežka to remarry, Karolina suggests that her cousin consider Ladislav and, if her cousin would not take him, Karolina would do so. Anežka rejects Ladislav, but it gradually becomes known that Ladislav’s purpose in visiting the estate was to seek Anežka. Karolina backs away from any interest in Ladislav, and Anežka’s change of heart occurs when she herself dons the ball gown Karolina was to wear and agrees to consider Ladislav. By the end of the opera the various differences are resolved, and the work ends in a celebration of love and romance.
Among Smetana’s operas The Two Widows is characteristically conversational, and the work succeeds in its blending of declamatory passages that further the plot and set pieces that call attention to the pertinent details. In this sense it stands between a work like Dalibor, which relies strongly on lyrical numbers, and the more conversation-oriented structure of his last completed opera The Devil’s Wall (Čertova stěna). This kind of work lends itself well to the idiomatic performance preserved in this recording, with its cast of native speakers, whose inflections and emphases serve the libretto well. This particular recording is the only one currently available in commercial release and remains a solid, convincing performance. As much as it would be possible to perform the work outside of the current Czech Republic, it would be difficult to assemble a cast sufficiently familiar with the language so that the result would be convincing. Thus, it is useful to have this performance, which was made during the Cold War, and available on LP through Supraphon. Originally recorded between 28 November 1956 and 13 December 1956 at the Rudolfinum in Prague, the recording was issued on LP. No longer available in that format, the original tapes were remastered in 2007 for release on CD.
Thus, the cast of this recording is relatively unfamiliar in the West, and they represent some of the talented singers who were active in the Czech-speaking world in the mid-twentieth century. The two widows are performed by Maria Tauberová (Karolina) and Drahomira Tikalová (Anežka), with the Ladislav sung by Ivo Židek. As Karolina Tauberová’s voice is resonant, and her ringing tones stand in contrast to the deep bass of Eduard Haken in the role of Mumlal, Karolina’s gamekeeper. A challenge of this work is to arrive at two sopranos whose voices work well together in the title roles, and Tikalová worked well with Tauberová in various passages that require a close ensemble. If Tauberová’s upper range is sometimes a bit brighter than Tikalová’s, Tikalová has a distinct lower range that supports the duets. With the tenor role of Ladislav, Židek fits the character of the impetuous youth with this supple and ringing tone. The upper range conveys a sense of ease and fluidity that is necessary for the part of Ladislav, and his resonant technique emerges nicely in the duet with Mumlal in the fifth scene of the first act.
One of the strengths of the performance is the articulate and richly balanced chorus, which sets the tone at the opening of the opera in the harvest scene. The chorus has a warm sound and, even though the scoring is sometimes thick, they evince a welcome precision that brings out the sometimes angular rhythms. Likewise, the orchestra is supportive without dominating, and the string textures that are at the core of Smetana’s score, emerge clearly.
The CD release of this performance of this rarely heard opera makes available a work that demonstrates some aspects of Smetana’s work that are not found in The Bartered Bride. In a work that relies on various ensembles throughout to bring out the nuances of plot, The Two Widows stands apart from the folk-opera idiom associated with that earlier work and sometimes perceived popular operettas like The Merry Widow. Closer in style to some of the operas of Dvorak than other composers, The Two Widows deserves to be heard, and this fine performance from 1956 represents the score well, with its fine cast, chorus, and orchestra.
James L. Zychowicz