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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.
Recorded at a live performance in 2012, this CD brings together an eclectic
selection of turn-of-the-century orchestral songs and affirms the extraordinary
versatility, musicianship and technical accomplishment of mezzo-soprano
Once I was: Songs by Ricky Ian Gordon features an assortment of
songs by Ricky Ian Gordon interpreted by soprano Stacey Tappan, a longtime
friend of the composer since their work on his opera Morning Star at
the Lyric Opera of Chicago.
Alfredo Kraus, one of the most astute artists in operatic history in terms of careful management of technique and vocal resources, once said in an interview that ‘you have to make a choice when you start to sing and decide whether you want to service the music, and be at the top of your art, or if you want to be a very popular tenor.’
In generations past, an important singer’s first recording of Italian arias would almost invariably have included the music of Verdi.
With celebrations of the Verdi Bicentennial in full swing, there have been
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major opera houses today.
In the thirty-five years immediately following its American première at the Metropolitan Opera in 1914, Italo Montemezzi’s ‘Tragic Poem in Three Acts’ L’amore dei tre re was performed in New York on sixty-six occasions.
Few operas inspire the kind of competing affection and controversy that have surrounded Mozart’s Così fan tutte almost since its first performance in Vienna in 1790.
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Known principally for its two concert show-pieces for the leading lady, the success of Francesco Cilea’s Adriana Lecouvreur relies upon finding a soprano willing to take on, and able to pull off, the eponymous role.
It would be condescending and perhaps even offensive to suggest that singing
traditional Spirituals is a rite a passage for artists of color, but the musical heritage of the United States has been greatly enriched by the performances and recordings of Spirituals by important artists such as Paul Robeson, Marian Anderson, Leontyne Price, Martina Arroyo, Shirley Verrett, Grace Bumbry, Jessye Norman, Barbara Hendricks, Florence Quivar, Kathleen Battle, Harolyn Blackwell, and Denyce Graves.
As a companion to their excellent Great Wagner Singers boxed set
compiled and released in celebration of the Wagner Bicentennial, Deutsche
Grammophon have also released Great Wagner Conductors, a selection of
orchestral music conducted by five of the most iconic Wagnerian conductors of
the Twentieth Century, extracted from Deutsche Grammophon’s extensive
There could be no greater gift to the Wagnerian celebrating the Master’s
Bicentennial than this compilation from Deutsche Grammophon, aptly entitled
Great Wagner Singers.
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Since its first performance at the Teatro Santi Giovanni e Paolo during Venice’s 1643 Carnevale, Monteverdi’s L’Incoronazione di Poppea has been one of the most important milestones in the genesis of modern opera despite its 250 years of unmerited obscurity.
Though 2013 is the bicentennial of the births of Giuseppe Verdi and Richard Wagner, the releases of Cecilia Bartoli’s recording of Bellini’s Norma on DECCA, a new studio recording of Donizetti’s Caterina Cornaro from Opera Rara, and this première recording of Saverio Mercadante’s forgotten I due Figaro, suggest that this is the start of a summer of bel canto.
Recording Richard Wagner’s Der Ring des Nibelungen is for a
record label equivalent to a climber reaching the summit of Mount Everest: it is the zenith from which a label surveys its position among its rivals and appreciates an achievement that can define its reputation for a generation.
Few people who love opera in general and bel canto in particular have never heard the comment made by Lilli Lehmann, veteran of the inaugural Ring at Bayreuth in 1876, that singing all three of Wagner’s Brünnhildes—in Die Walküre, Siegfried, and
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Paul Dukas’ Ariane et Barbe-Bleue, first heard in 1907, once seemed important. Arturo Toscanini conducted the Met premiere in 1911 with Farrar and later arranged some of its music for a 1947 recording with his NBC Symphony.
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