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Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
A historical afternoon at the NTR Saturday Matinee occurred with an epic
concert version of Prokofiev’s Soviet Opera Semyon Kotko.
Opening night at the Metropolitan is a gleeful occasion even when the
composer is long gone, but December 1st was an opening for a living composer who
has been making waves around the world and is, gasp, a woman — the second woman
composer ever to have an opera presented at the Met.
The Feast at Solhaug : Henrik Ibsen's play Gildet paa Solhaug (1856) inspired Wilhelm Stenhammer's opera Gillet på Solhaug. The world premiere recording is now available via Sterling CD, in a 3 disc set which includes full libretto and background history.
For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.
As the German language describes so beautifully, a “Schrei aus
tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra
from the depths of her soul.
Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement,
but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment
“is the biggest news in the conducting world.” But Ms. Mirga
Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.
You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
Honours yet again to Oehms Classics who understand the importance of excellence. A composer as good, and as individual, as Walter Braunfels deserves nothing less.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
05 Mar 2009
Mahler: Das Lied von der Erde (The Song of the Earth)
Recorded on 9 November 1959 at Symphony Hall (now Symphony Center), this recent issue of a classic performed of Gustav Mahler’s Das Lied von der Erde translates the then state-of-the-art RCA “Living Stereo” sound for the LP vinyl medium to the enhanced sound currently available in SACD format.
As John Newton comments in the notes about the audio technology used in this new release, the quality of the original record was excellent from the start, and that allows for enhancements, rather than restoration in bringing the almost legendary American recording to the twenty-first century. The razor-blades that sound engineers used in 1959 to edit tapes were the best tools available then, but such physical means have given way to digital ones, and the results are evident in this fine issue.
When RCA originally released this recording of Das Lied von der Erde, relatively few recordings were available on LP, but those included the monumental performance of Kathleen Ferrier and Julius Patzak, with the Vienna Philharmonic Orchestra, conducted by Bruno Walter. Comparisons of these two great recordings are futile, but they represent two of the finest performances of Das Lied von der Erde on disc. Ferrier’s performance is unquestionably moving, and Forester represents another impressive interpretation of the part. It is fortunate to have the fine recording with Ferrier and Patzak conducted by Walter, the musician responsible for the premiere of Das Lied von der Erde after Mahler’s death. With Reiner’s recording, though, both singers would continue with their careers for years to come. Forester and Lewis would appear again in Das Lied von der Erde in a concert on 16 April1960 at Carnegie Hall, in a performance of the Philharmonic Symphony Orchestra led by Bruno Walter. That performance is available on CD, but does not have the sonic presence of the one with the Chicago Symphony Orchestra. Almost a decade later, in 1967, Forester and Lewis would also recording Das Lied von der Erde with the Cleveland Orchestra conducted by Georg Szell, but those later performances are not esteemed as highly as the one with Reiner and now reissued in SACD format.
While Reiner’s name is not often included with others of his generation when it comes to performing Mahler’s music, his interpretation of Das Lied von der Erde stands out among his efforts as an impressively persuasive. He brought to the score the virtuosity of the Chicago Symphony and with it came the fine sonic ambience of Orchestra Hall and the recording techniques of RCA, which were the most advanced of the day. The result is a vibrant orchestra sound, with the individual colors of the ensemble emerging readily under Reiner’s leadership. Without a question the Chicago Symphony has a fine blend, but it is possible to hear more distinctly some of the specific sounds in Mahler’s score. From the outset the sound is vibrant, with the horns in the opening passage ringing out the repeated notes that signal the gesture with which the piece begins. Likewise, the characteristic hollow sound of the woodwinds that follows demonstrates the reason that Mahler used those colors in the passage. The eighth-note figures that underscore the vocal line are articulated cleanly, with appropriate separation between them, and the sudden entrances that punctuate some of the phrases in the first piece have a nice resonance. With Lewis, his performance of the ”Trinklied vom Jammer der Erde” is impressive, with his diction matching his fine expression, with the descending slide that occurs near the end of the movement beautifully executed. It is unfortunate that some passages of “Der Trunkene im Frühling” (mistranslated in the liner notes as “Wine in Spring” as is “Der Einsame im Herbst” as “Autumn Loneliness” rather than “The Lonely One in Autumn”) show some strain. With the middle of the three tenor pieces, “Von der Jugend” (“About Youth”) the understated tone is entirely appropriate to this number and Lewis conveys the sense of youthfulness implicit in the text.
Maureen Forester brings a full, rich, dark sound to the contralto pieces, and her vibrant voice never blurs. The open tones at the beginning of “Der einsame im Herbst” are engaging, as she blends well with the orchestra as if she were part of a smaller ensemble. This recording captures the sound well so that it is difficult to mistake her distinctive voice in this setting from Hans Bethge’s Chinesische Flöte. Yet with “Von der Schönheit” (“About Beauty”) Forester captures the sense of drama by differentiating so well between the introverted opening section and the more assertive central portion of the song. The full rein of the Chicago Symphony is evident in the middle of the movement, which stands out for its bold statement of exoticism. Yet both Reiner and Forester restrain the ending appropriately and masterfully. In many ways, though, “Der Abschied” poses musical and interpretive challenges for even the finest performers, which Reiner and Forester meet with remarkable style and conviction. After the percussive opening of the movement, Forester is almost subdued in presenting the text. She builds on that opening gradually, and as the first part of “Der Abschied” ends, she is fervent, with a warm, rich approach that stands in contrast to the earlier portion of the movement. In the second half of the movement Forester moves away from this and makes audible the sense of confident resignation found in the text. Her intonation of the final portion of “Der Abschied” is convincing, with Reiner’s command of the Chicago Symphony evident in the finely played conclusion.
With over 50 recordings of Das Lied von der Erde available on CD, a number of fine performances are available. The release of this particular one, though, makes a classic interpretation available for new audiences to enjoy. The already fine sound of the original LP is reinforced in this newly issued CD, which does not merely present what was on the famous LP, but is a reshaping of the original recorded sound. As familiar as the LP may be to some, the CD merits attention, not only as a classic recording, but as a perpetually effective one.
James L. Zychowicz