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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.

Premiere Recording: Mayr’s Telemaco nell’isola di Calipso (1797)

No sooner had I drafted my review of Simon Mayr’s Medea in Corinto,



Jules Massenet: Thaïs
27 Jun 2010

Massenet's Thaïs at Teatro Regio Torino

What sort of production would be optimal for an opera that with more style than content?

Jules Massenet: Thaïs

Thaïs: Barbara Frittoli; Athanaël: Lado Ataneli; Nicias: Alessandro Liberatore; Palémon: Maurizio Lo Piccolo; Albine: Nadežda Serdyuk; Crobyle: Eleonora Buratto; Myrtale: Kete van Kemoklidze; La Charmeuse: Daniela Schillaci; Un serviteur: Diego Matamoros. Torino Teatro Regio Chorus (chorus master: Roberto Gabbiani). Torino Teatro Regio Orchestra. Gianandrea Noseda, conductor. Stefano Poda, stage director, choreographer, set, costume and light designer. Recorded live from the Teatro Regio Torino, 2008.

ArtHaus 101386 [Blu-Ray DVD]

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A good place to evaluate one's answer to that question comes in the form of this DVD of Stefano Poda's staging of Thaïs by Jules Massenet (composer) and Louis Gallet (libretto). Viewers who find the opera slightly risible but who still enjoy the music are likely to be amused and fascinated by Poda's over-the-top aesthetic, part dance and performance art spectacle, part out-of-control fashion runway show. Anyone actually captivated by the opera's conjunction of overripe sexuality and pained religiosity may be much less pleased.

A fairly long opera for its story, Thaïs has a cast listing of 9 roles, but the story never strays far from the title character and her admirer, a monk who sets out to convert the courtesan from her sinful ways and put her on the path to righteousness. In the end, the monk Athanaël finds himself over come by her attractions, but it is too late for his own conversion to sensuality, as Thaïs can no longer respond, having forsaken her former life and then, after being born again, rather abruptly dying.

The Metropolitan Opera recently staged Thaïs with stars Renee Fleming and Thomas Hampson in the leading roles, and stars of that magnitude are needed. Without their charisma, a flimsy story and the fallows of the score between its 2 or 3 highlights make for a forgettable evening. Excellent singers both, such charisma doesn't get projected by Barbara Frittoli or Lado Ataneli, caught on this recording in live performance from 2008 at the Teatro Regio Torino. Frittoli has beauty enough for the role, edging just a bit into Rubenesque territory. Only in her big scene, the so-called Mirror aria, does the relative blandness of her vocal instrument come into too close focus. Ataneli, no actor, doesn't do much more than glower and look down, and in his dark floor-length tunic he looks a bit like Rasputin on a Middle East holiday. His handsome voice, however, makes credible the growing attraction the courtesan feels for him. In the only other truly notable role, as Thaïs's Babylonian sugar daddy Nicias, Alessandro Liberatore doesn't so much disappear into the role as just disappear.

What makes this show a fascinating experience is the total design effort of director Stefano Poda, who also choreographs and designs the sets, costumes, and lighting. He has no interest in pretending this is a naturalistic story of early AD Babylon. He plays with black, mostly in the costumes, and white in the sets. He does not attempt much differentiation between the libretto's settings, opting instead for a stylized dimension where barely clothed dancers sweep on and off, illustrating the action in the opera's extensive instrumental passages. It all borders on the silly, but so does the opera. Poda's flow of invention in creating eye-catching stage pictures makes the show not just bearable but actually fairly entertaining, especially seen in the incredibly crisp and detailed Blu-Ray picture.

Gianandrea Noseda elicits sensuous playing from the house orchestra. The production in the Metropolitan Opera's performances, broadcast last year in the HD Moviecast series, was also fairly stylized, but it didn't draw attention to itself the way Poda's does. If that sounds like criticism of this version, stay away. If it sounds appealing, check it out.

Chris Mullins

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