Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Recordings

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,

A Verlaine Songbook

Back in the LP days, if a singer wanted to show some sophistication, s/he sometimes put out an album of songs by famous composers set to the poems of one poet: for example, Phyllis Curtin’s much-admired 1964 disc of Debussy and Fauré songs to poems by Verlaine, with pianist Ryan Edwards (available now as a CD from VAI).

Giovanni Simone Mayr: Medea in Corinto

The Bavarian-born Johann Simon Mayr (1763–1845) trained and made his career in Italy and thus ended up calling himself Giovanni Simone Mayr, or simply G. S. Mayr. He is best known for having been composition teacher to Giuseppe Donizetti.

Matthias Goerne: Bach Cantatas for Bass

In this new release for Harmonia Mundi, German baritone Matthias Goerne presents us with two gems of Bach’s cantata repertoire, with the texts of both BWV 56 and 82 exploring one’s sense of hope in death.  Goerne adeptly interprets the paradoxical combination of hope and despair that underpins these works, deploying a graceful lyricism alongside a richer, darker bass register.

Gramophone Award Winner — Matthias Goerne Brahms Vier ernste Gesänge

Winner of the 2017 Gramophone Awards, vocal category - Matthias Goerne and Christoph Eschenbach - Johannes Brahms Vier ernste Gesänge and other Brahms Lieder. Here is why ! An exceptional recording, probably a new benchmark.

Véronique Gens: Visions from Grand Opéra

Ravishing : Visions, Véronique Gens in a glorious new recording of French operatic gems, with Hervé Niquet conducting the Münchener Rundfunkorchester. This disc is a companion piece to Néère, where Gens sang familiar Duparc, Hahn, and Chausson mélodies.

John Joubert's Jane Eyre

Librettists have long mined the literature shelves for narratives that are ripe for musico-dramatic embodiment. On the whole, it’s the short stories and poems - The Turn of the Screw, Eugene Onegin or Death in Venice, for example - that best lend themselves to operatic adaptation.

Through Life and Love: Louise Alder sings Strauss

Soprano Louise Alder has had an eventful few months. Declared ‘Young Singer of the Year’ at the 2017 International Opera Awards in May, the following month she won the Dame Joan Sutherland Audience Prize at the BBC Cardiff Singer of the World.

A Master Baritone in Recital: Sesto Bruscantini, 1981

This is the only disc ever devoted to the art of Sesto Bruscantini (1919–2003). Record collectors value his performance of major baritone roles, especially comic but also serious ones, on many complete opera recordings, such as Il barbiere di Siviglia (with Victoria de los Angeles). He continued to perform at major houses until at least 1985 and even recorded Mozart's Don Alfonso in 1991, when he was 72.

Emalie Savoy: A Portrait

Since 1952, the ARD—the organization of German radio stations—has run an annual competition for young musicians. Winners have included Jessye Norman, Maurice André, Heinz Holliger, and Mitsuko Uchida. Starting in 2015, the CD firm GENUIN has offered, as a separate award, the chance for one of the prize winners to make a CD that can serve as a kind of calling card to the larger musical and music-loving world. In 2016, the second such CD award was given to the Aris Quartett (second-prize winner in the “string quartet” category).

Detlev Glanert : Requiem for Hieronymus Bosch

Detlev Glanert's Requiem for Hieronymus Bosch should be a huge hit. Just as Carl Orff's Carmina Burana appeals to audiences who don't listen to early music (or even to much classical music), Glanert's Requiem for Hieronymus Bosch has all the elements for instant popular success.

OPERA TODAY ARCHIVES »

Recordings

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]

$35.39  Click to buy

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


Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):