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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.
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
many grumblings about the precarious state of Verdi singing in the world’s
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.
During his career in film, opera, and operetta, Richard Tauber (1891 - 1948) enjoyed the sort of global fame that eludes all but the tiniest handful of ‘serious’ singers today.
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.
31 May 2011
Le Royaume Oublié: La Tragédie Cathare
Before a single track has been heard, Jordi Savall’s The Forgotten Kingdom impresses with its scale: a three-CD set packaged in a lavish, bound book that contains fifty dense pages of English commentary by nine different authors; adding the multiple translations, beautiful illustrations, and song texts, the book itself luxuriantly sprawls over 500 pages.
Named “Artists for Peace” by UNESCO in 2008 “for their outstanding musical commitment to intercultural dialogue and their contribution to furthering the Organization’s ideals,” Savall and his wife, the soprano Montserrat Figueras in The Forgotten Kingdom present a lyrical testimony to the high human cost when power and terror conjoin. Their focus is on the eradication of the Cathar culture of Occitana in southern France in the thirteenth century, an eradication accomplished by the Albigensian Crusade and the Inquisition that followed in its wake. The Cathari’s heretical embrace of dualism and anti-clericalism was answered by the strong arm of Roman ecclesial power, and tragic devastation accompanied the uprooting of the heresy; the killing of 20,000 residents of Beziers in 1209 suggests the scale of both the response and the tragic results. Savall’s work here is in part a musical excavation of this landscape, but is more prominently an explicit political reminder that our modern history resounds with the echoes. He writes of humankind’s “terrible amnesia” as “one of the principal causes of our inability to learn from history”; with references to Franco, Hitler, and the more recent wars in Vietnam, Afghanistan, and Iraq he underscores the persistence of that tragic inability.
The music ranges over several centuries. Some of it—fanfares, a haunting funeral march, and the like--is dramatic, even cinematic, in evoking the narrative landscape, with laments offering affective comment. Other music, such as the anti-clerical sirventes of Peire Cardenal, bring the specifics of the narrative into tighter focus. However, although the music is performed with the high polish, strong expressivity, and intensity that have long characterized the work of Savall and his colleagues, this is less an exploration of the music than the use of the music to remind of the poignant stakes at risk in aggression, in the demonizing of others, in not hearing the human voice of those we oppose. Savall’s expansive The Forgotten Kingdom makes the humanity of that voice both inescapable and memorable. The “artist for peace” leaves us much to ponder.