Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.







Recently in Recordings

Félicien David: Songs for voice and piano

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” with herself!).

John Taverner: Missa Corona spinea

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.

“Nessun Dorma — The Puccini Album”

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.

Honegger: Jeanne d’Arc au bûcher

Marion Cotillard and Marc Soustrot bring the drama to the sweeping score of Arthur Honegger’s Jeanne dArc au bûcher, an adaptation of the Trial of Joan of Arc

Far in the Heavens — Choral Music of Stephen Paulus

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.

Review: You Promised Me Everything

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’.

Donizetti: Les Martyrs

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.

Green: Mélodies françaises sur des poèmes de Verlaine

Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and twentieth-century France

A worthy tribute for a vocal seductress of the ancient régime

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.

Schubert’s Winterreise by Matthias Goerne

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.

Gluck: Orfeo ed Euridice

This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.

Die Entführung aus dem Serail @ Hangar-7

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: Notturno

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 Sings Mahler Lieder

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.

Gergiev’s Das Rheingold

Das Rheingold launches what is perhaps the single most ambitious project in opera, Richard Wagner’s Der Ring des Nibelungen

Hänsel und Gretel

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.

Magdalena Kožená: Love and Longing

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 Magdalena Kožená.

Once I was: Songs by Ricky Ian Gordon

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.

Amore e Tormento

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.’ 

Rivals—Arias for Farinelli & Co.

In generations past, an important singer’s first recording of Italian arias would almost invariably have included the music of Verdi. 



09 Mar 2011

Déodat De Séverac: Le Coeur du Moulin

Interesting recordings continue to be produced in the classical music business by smaller labels with particular niche markets. For the label Timpani, their specialty tends to be rarer French repertoire.

Déodat De Séverac: Le Coeur du Moulin

Jacques: Jean-Sébastien Bou; Marie: Sophie Marin-Degor; Pierre: Christophe Berry. Orchestre Symphonique Région Centre - Tours. Conductor: Jean-Yves Ossonce.

Timpani 1C1176 [CD]

$39.57  Click to buy

A defining example of this specialty can be found in Timpani’s release of Le Couer du Moulin, a short opera by one Déodat de Séverac. Jacques Tchamkerten’s booklet essay (as translated into somewhat cumbersome English prose by Jeremy Drake) offers the expected testament to the composer (“…one of France’s…most naturally musical composers…”) to be found in a recording that a company has deemed worthy of producing. However, Tchamkerten is also refreshingly blunt about the work’s limitations, especially the unfortunate libretto, pointing out “the artificiality of its language”, the “fairly ill-defined” characters, and the “unconvincing” supernatural voices. Once past these negative comments, Tchamkerten’s embarks on a more detailed analysis of the score, relating the perceived felicities of Séverac’s compositional style — a blend of traditional harmony and the expanding orchestral palette of his countryman and contemporary, Claude Debussy.

Indeed, the essay begins with a quotation from Debussy, passing along — second-hand — a rather anodyne compliment about Séverac’s score (it “smells good”!). Even a casual listener will quickly pick up an aural sense of deja vu, as both the mood of the piece and many orchestral details sound very much like the master’s contemporaneous work, Pelléas et Mélisande. Tchamkerten points out that Debussy's opera had not premiered at the time of Séverac’s first version of his own opera, but that claim alone doesn’t prevent anyone from believing that Debussy’s work made a great impression on Séverac, an impression now heard in the final version of his work. In fact, for many listeners who lose patience with the free-floating ambience of Debussy masterwork, Séverac’s opera may strike them as a work that captures the best of Pelléas’s spectral beauty while being easier to follow and more superficially tuneful.

Ultimately, however, Le Coeur du Moulin is a rather slight work. The story is a tedious rural love triangle, encumbered with overly poetic language and devices, and with a story that promises conflict but never produces any. Jacques had loved Marie and then went away to serve as a soldier. His delayed return led Marie to believe herself abandoned, and she married Pierre. Jacques returns, whereupon he and Marie discover their love still beats on. However, the voices of nature and wise folk of the town manage to help Jacques realize he cannot interfere in Marie’s married life, and he leaves. By comparison, Pelléas et Mélisande comes off as red-blooded and rambunctious as Cavalleria Rusticana.

Listeners might do well then to skip or barely skim the provided English translation of the libretto and just enjoy the fine performance by the Tours company forces under the experienced baton of Jean-Yves Ossonce. The soloists are all effective, and the recorded sound clear and atmospheric. If one keeps one’s expectations modest, anyone who enjoys French music of the first half of the twentieth century — and why wouldn’t one? — will find this Timpani release a pleasant experience.

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):