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Francesco Cavalli’s La Calisto was the composer’s ﬁfteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.
New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.
Edouard Lalo (1823-92) is best known today for his instrumental works: the
Symphonie espagnole (which is, despite the title, a five-movement
violin concerto), the Symphony in G Minor, and perhaps some movements from his
ballet Namouna, a scintillating work that the young Debussy adored.
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.
07 Sep 2010
Diana Damrau in Recital at Salzburg Festival
Recorded live on 13 August 2005, this recent release on the Orfeo label in its Festspiel Dokumente imprint makes available a recital given by soprano Diana Damrau and pianist Stephan Matthias Lademann during the 2005 Salzburg Festival and given at the Mozarteum.
This particular Liederabend offers a selection of music by five late-Romantic composers, Alban Berg, Gustav Mahler. Alexander Zemlinsky, Hugo Wolf, and Richard Strauss, and presents some repertoire performed infrequently.
More familiar, perhaps in the opera house, Damrau offers a different side of her voice in the more intimate venue of the song recital. This provides those who are familiar with Damrau to hear her perform literature that they could not hear elsewhere. One of the selections, for example, is the Strauss song “Amor,” which is remarkably similar to the music associated with Zerbinetta in the composer’s opera Ariadne auf Naxos and in this context provides a fine connection between Damrau in the opera house and her efforts in the recital milieu. That song in particular demonstrates not just Damrau’s facility, but her virtuosity in performing the lengthy coloratura melismas associated with Zerbinetta but here, in the more exposed medium of voice and piano. It is a persuasive performance, all the more remarkable for Damrau’s performance at the conclusion of an otherwise full recital.
As to the other literature performed, Damrau performed entire sets of Lieder, starting with Berg’s Sieben frühe Lieder, a selection of songs from the early part of his career, when the pulls between the late-Romantic style and the atonal idiom he would pursue are audible from the start in “Nacht,” which Damrau delivers convincingly. “Traumgekrönt,” with its text by Rainer Maria Rilke, has a similar sense, which Damrau brings out not only in her execution of the line, but also in her enunciation of the text. (In Berg’s “Liebesode” Damrau’s work on the stage is perceptible in the rolled “r” of the word “Arm,” an element that she brings into her performance of the piano version of “Das himmlische Leben,” the Song-Finale of Mahler’s Fourth Symphony.)
With Zemlinksy’s Walzergesänge this infrequently heard piece conveys a sense of Brahms’s vocal Liebeslieder waltzes, with the inflection of the kind of modernism heard a generation later, albeit inspired by the Tuscan folksongs of Ferdinand Gregorovius. These short, early settings by Zemlinsky do not yet embody the kind of expressive dissonances that are part of the composer’s Lyrische Symphonie, yet clearly take the listener into the late Romantic idiom, as found distinctively in “Ich geh’ des Nachts.” These pieces are removed from the idiom Wolf used in the five settings of Eduard Mörike performed in this recital. Her approach to “Lebe wohl” captures the style of the text well, and stands out for its moving interpretation. Likewise, the pianism of Landemann is nicely heard in “Nimmersatte Liebe,” where it sets the tone for the song at the beginning. His subtle conclusion of the last of the Wolf set is effective in bringing this relatively lengthy setting to an appropriate musical ending.
With Strauss’s relatively early set Mädchenblumen, op. 22, Damrau offers another perspective on the late-Romantic Lied. The register of several of these songs, like “Kornblumen” fit Damrau’s voice, and she offers some solid performances of these seldom heard pieces. That son and others in the cycle are unified by the images of flowers, and the deft touch Damrau gives the music is quite effective, something nicely connected with her inclusion of a later setting by Strauss of “Ich wollt’ ein Sträußlein binden” (“I will make a bouquet”), a song which literally connects the parts of the song cycle and, through the author of text, Clemens Brentano, creates a link to the final piece on the recital, the song “Amor.”
The audience was quite enthusiastic about Damrau, and the applause is nicely captured on the recording, which also preserves the four encores she gave: Mahler’s song “Wer hat dies Liedlein erdacht?” along with two selections from Wolf’s Italienisches Liederbuch “Auch kleine Dinge” and a virtuoso treatment of “Ich hab’ in Penna” and, at the end, a song by Liszt, “Es muss ein Wunderbares sein.” The latter is a curious piece that adds an earlier composer to the recital with this piece that also conveys, as Damrau remarks, as a means of expressing her own enthusiasm for this recital.
This recording captures a fascinating recital that not only serves to document the Salzburg Festival, but also serves as a fine example of programming. As various expressions of late-Romantic music, the music Damrau performed offers several perspectives on the style and her own facility with each of the composers represented. As such, it serves well in making available some vibrant interpretations of song repertoire by an exceptional performer.
James L. Zychowicz