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Two new recordings from highly acclaimed specialists Opera Rara -
Gounod La Colombe and Donizetti Le Duc d'Albe.
It is not often that a major work by a forgotten composer gets rediscovered
and makes an enormously favorable impression on today’s listeners. That has
happened, unexpectedly, with Herculanum, a four-act grand opera by
Félicien David, which in 2014 was recorded for the first time.
This recording, made in the Adrian Boult Hall at the Birmingham Conservatoire of Music in June 2014, is the fourth disc in SOMM’s series of recordings with Paul Spicer and the Birmingham Conservatoire Chamber Choir.
Félicien David’s intriguing Le désert, for vocal and orchestral forces plus narrator, was widely performed in its own day, then disappeared from the performing repertory for nearly a century.
This well-packed disc is a delight and a revelation. Until now, even the
most assiduous record collector had access to only a few of the nearly 100
songs published by Félicien David (1810-76), in recordings by such notable
artists as Huguette Tourangeau, Ursula Mayer-Reinach, Udo Reinemann, and Joan
Sutherland (the last-mentioned singing the duet “Les Hirondelles”
This new release of John Taverner’s virtuosic and florid Missa
Corona spinea (produced by Gimell Records) comes two years after The
Tallis Scholars’ critically esteemed recording of the composer’s
Missa Gloria tibi Trinitas, which topped the UK Specialist Classical
Album Chart for 6 weeks, and with which the ensemble celebrated their
40th anniversary. The recording also includes Taverner’s two
settings of Dum transisset Sabbatum.
Sounds swirl with an urgent emotionality and meandering virtuosity on Jonas Kaufmann’s new Puccini album—the “real one”, according
to Kaufmann, whose works were also released earlier this year on Decca records, allegedly without his approval.
Marion Cotillard and Marc Soustrot bring the drama to the sweeping score of Arthur Honegger’s Jeanne d’Arc au
bûcher, an adaptation of the Trial of Joan of Arc
Stephen Paulus provided the musical world, and particularly the choral world, with music both provocative and pleasing through a combination of lyricism and a modern-Romantic tonal palette.
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.
29 Aug 2010
Like her impressive recording of Lieder by Dvořák (Harmonia Mundi CD 901824), Bernarda Fink’s recording of a selection of Lieder by Brahms not only offers a fine representation of the music, but also demonstrate the singer’s command of this repertoire.
Her sense of style is apparent from the start of the recording, with a spirited reading of “Bei dir sind meine Gedanken,” and Vignoles sensitive accompaniment supports Fink well. The nuances of musical phrasing fit well into the poetic lines, as it should be, and that, perhaps is one of the best things to say about this recording of range of Brahms’s Lieder. The “Sapphische Ode” is telling for the understated simplicity Fink offers in allowing the lines to emerge effortlessly, and with that the accompaniment comes to the fore readily. This is chamber music in the best sense, as one player hands off the line to the other, with Fink’s phrases intersecting with Vignoles, and Vignoles leading nicely to the continuation of the vocal line.
Such interplay is particularly noticeable in “Von ewiger Liebe,” with its two-part structure juxtaposing the somber opening with the affirming conclusion, a transformation that is supported by the metric change, from 3 / 4 to 6 / 8. The valediction at the conclusion suggests the kind of intensity Mahler would create in his setting of Rückert’s “Um Mitternacht.” This calls to mind the more sustained mood of this song, which Fink and Vignoles deliver with conviction, The rhythmic interplay and the vocal inflection combine well in the execution of this piece, along with the other songs in the selection.
The pieces are from various sets of Lieder that Brahms composed at various times in his career, and this results in a useful overview of the composer’s efforts in this genre. At the same time, the in wide selection requires the performers to be sensitive to the details that set the pieces apart from each other, and they meet that challenge well. The early “Liebestreu” from his Opus 3 set is effective, as are later compositions, such as “Der Jäger” (Op. 95) and “Das Mädchen spricht” (Op. 107). Throughout the recording Vignoles offers a solid and nuanced accompaniment that not only supports Fink, but also suggests the kind of partnership essential to Lieder and particularly necessary in the contributions of Brahms. The other choices from Brahms’ approximately 200 Lieder include some pieces that are heard less often, yet fit Fink’s voice quite well, like “Der Gang zum Liebchen,” while the familiar ones, like Brahms’s famous lullaby, “Wiegenlied,” is fresh and fitting, especially as the final selection on the CD.
In this Harmonia Mundi recording, the sound is sympathetic to the repertoire, with a warm resonance that lets the voice and piano work well. The result is an exemplary studio recording of Lieder which, at the same time, offer the immediate sound associated with live recitals. In addition, the booklet that accompanies the recording is conceived well, with the full texts and translations of each of the Lieder complemented with a brief essay by Walter Rösler. These elements of the CD support the excellent performances found in this recording my mezzo-soprano Bernarda Fink and pianist Roger Vignoles.
James L. Zychowicz