Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Recordings

Hans Werner Henze Choral Music

Hans Werner Henze works for mixed voice and chamber orchestra with SWR Vokalensemble and Ensemble Modern, conducted by Marcus Creed. Welcome new recordings of important pieces like Lieder von einer Insel (1964), Orpheus Behind the Wire (1984) plus Fünf Madrigale (1947).

Bettina Smith, Norwegian Mezzo, in Songs by Fauré and Debussy

Here are five complete song sets by two of the greatest masters of French song. The performers are highly competent. I should have known, given the rave reviews that their 2015 recording of modern Norwegian songs received.

Étienne-Nicolas Méhul: Uthal

The opera world barely knows how to handle works that have significant amounts of spoken dialogue. Conductors and stage directors will often trim the dialogue to a bare minimum (Magic Flute), have it rendered as sung recitative (Carmen), or have it spoken in the vernacular though the sung numbers may often be performed in the original language (Die Fledermaus).

A New Anna Moffo?: The Debut Disc of Aida Garifullina

Here is the latest CD from a major label promoting a major new soprano. Aida Garifullina is utterly remarkable: a lyric soprano who also can handle coloratura with ease. Her tone has a constant shimmer, with a touch of quick, narrow vibrato even on short notes.

Il sogno di Scipione: a new recording from Classical Opera

With this recording of Mozart’s 1771 opera, Il sogno di Scipione (Sicpio’s Dream), Classical Opera continue their progress through the adolescent composer’s precocious achievements and take another step towards the fulfilment of their complete Mozart opera series for Signum Classics.

Mozart’s Requiem: Pierre-Henri Dutron Edition

The stories surrounding Mozart’s Requiem are well-known. Dominated by the work in the final days of his life, Mozart claimed that he composed the Requiem for himself (Landon, 153), rather than for the wealthy Count Walsegg’s wife, the man who had commissioned it in July 1791.

Schumann and Mahler Lieder : Florian Boesch

Schumann and Mahler Lieder with Florian Boesch and Malcolm Martineau, now out from Linn Records, following their recent Schubert Winterreise on Hyperion. From Boesch and Martineau, excellence is the norm. But their Mahler Lieder eines fahrenden Gesellen takes excellence to even greater levels

Hans Werner Henze : Kammermusik 1958

"....In lieblicher Bläue". Landmark new recordings of Hans Werner Henze Neue Volkslieder und Hirtengesänge and Kammermusik 1958 from the Scharoun Ensemble Berlin, with Andrew Staples, Markus Weidmann, Jürgen Ruck and Daniel Harding.

Elder conducts Lohengrin

There have been dozens of capable, and more than capable, recordings of Lohengrin. Among the most-often praised are the Sawallisch/Bayreuth (1962), Kempe (1963), Solti (1985), and Abbado (1991). Recording a major Wagner opera involves heavy costs that a record company may be unable to recoup.

Premiere Recording: Mayr’s Telemaco nell’isola di Calipso (1797)

No sooner had I drafted my review of Simon Mayr’s Medea in Corinto,

A Verlaine Songbook

Back in the LP days, if a singer wanted to show some sophistication, s/he sometimes put out an album of songs by famous composers set to the poems of one poet: for example, Phyllis Curtin’s much-admired 1964 disc of Debussy and Fauré songs to poems by Verlaine, with pianist Ryan Edwards (available now as a CD from VAI).

Giovanni Simone Mayr: Medea in Corinto

The Bavarian-born Johann Simon Mayr (1763–1845) trained and made his career in Italy and thus ended up calling himself Giovanni Simone Mayr, or simply G. S. Mayr. He is best known for having been composition teacher to Giuseppe Donizetti.

Matthias Goerne: Bach Cantatas for Bass

In this new release for Harmonia Mundi, German baritone Matthias Goerne presents us with two gems of Bach’s cantata repertoire, with the texts of both BWV 56 and 82 exploring one’s sense of hope in death.  Goerne adeptly interprets the paradoxical combination of hope and despair that underpins these works, deploying a graceful lyricism alongside a richer, darker bass register.

Gramophone Award Winner — Matthias Goerne Brahms Vier ernste Gesänge

Winner of the 2017 Gramophone Awards, vocal category - Matthias Goerne and Christoph Eschenbach - Johannes Brahms Vier ernste Gesänge and other Brahms Lieder. Here is why ! An exceptional recording, probably a new benchmark.

Véronique Gens: Visions from Grand Opéra

Ravishing : Visions, Véronique Gens in a glorious new recording of French operatic gems, with Hervé Niquet conducting the Münchener Rundfunkorchester. This disc is a companion piece to Néère, where Gens sang familiar Duparc, Hahn, and Chausson mélodies.

John Joubert's Jane Eyre

Librettists have long mined the literature shelves for narratives that are ripe for musico-dramatic embodiment. On the whole, it’s the short stories and poems - The Turn of the Screw, Eugene Onegin or Death in Venice, for example - that best lend themselves to operatic adaptation.

Through Life and Love: Louise Alder sings Strauss

Soprano Louise Alder has had an eventful few months. Declared ‘Young Singer of the Year’ at the 2017 International Opera Awards in May, the following month she won the Dame Joan Sutherland Audience Prize at the BBC Cardiff Singer of the World.

A Master Baritone in Recital: Sesto Bruscantini, 1981

This is the only disc ever devoted to the art of Sesto Bruscantini (1919–2003). Record collectors value his performance of major baritone roles, especially comic but also serious ones, on many complete opera recordings, such as Il barbiere di Siviglia (with Victoria de los Angeles). He continued to perform at major houses until at least 1985 and even recorded Mozart's Don Alfonso in 1991, when he was 72.

Emalie Savoy: A Portrait

Since 1952, the ARD—the organization of German radio stations—has run an annual competition for young musicians. Winners have included Jessye Norman, Maurice André, Heinz Holliger, and Mitsuko Uchida. Starting in 2015, the CD firm GENUIN has offered, as a separate award, the chance for one of the prize winners to make a CD that can serve as a kind of calling card to the larger musical and music-loving world. In 2016, the second such CD award was given to the Aris Quartett (second-prize winner in the “string quartet” category).

Detlev Glanert : Requiem for Hieronymus Bosch

Detlev Glanert's Requiem for Hieronymus Bosch should be a huge hit. Just as Carl Orff's Carmina Burana appeals to audiences who don't listen to early music (or even to much classical music), Glanert's Requiem for Hieronymus Bosch has all the elements for instant popular success.

OPERA TODAY ARCHIVES »

Recordings

Decca 0440 074 3383 6 GH [DVD]
27 Oct 2011

Renée Fleming and Dmitri Hvorostovsky: A Musical Odyssey in St. Petersburg

Exactly what makes this entertaining, handsome video of Dmitri Hvorostovsky and Renée Fleming in concert an “odyssey”?

Renée Fleming and Dmitri Hvorostovsky: A Musical Odyssey in St. Petersburg

Renée Fleming, soprano. Dmitri Hvorostovsky, baritone. State Hermitage Orchestra. Conductor: Constantine Orbelian. Directed for video by Brian Large.

Decca 0440 074 3383 6 GH [DVD]

$27.99  Click to buy

Would it really have been unacceptable to call the program “A Musical Travelogue in St. Petersburg”? There are no adventures with sirens or one-eyed giants, nor is there any sense of homecoming and redemption. Instead, soprano Fleming (Hvorostovsky apparently otherwise engaged) walks through some of the more appealing tourist locations of the city, in three segments that take up about 20 minutes of the main program’s 90-minute running time. At least Decca provides an additional four musical selections for the DVD release.

Putting aside persnickety complaints about language, the DVD is very enjoyable. It gets off to a great start by skipping introductions and immediately joining Renée and Dmitri in front of the State Hermitage orchestra and conductor Constantine Orbelian. Credits roll as the singers launch into the fourth act duet of Il Trovatore’s Leonora and Di Luna. Other than Violetta and Desdemona, Verdi hasn’t played a big part in Ms. Fleming’s career, so it’s fairly surprising how well she does in this scene. Hvorostovsky has sung the Count many times, and in this smaller hall, he is able to bring all of his skill to the performance without having to push as he would in a larger venue. Next, after 10 minutes of Renée guiding us through the Winter Palace, we return to the concert and an extended scene from Simon Boccanegra. A briefer travelogue is followed by several Russian songs, with Olga Kern at the piano. This is Hvorostovsky’s home territory, of course, and he shines; Ms. Fleming looks and sounds ravishing.

Another travelogue section precedes the return of the orchestra for selections from three Tchaikovsky operas, listed in the booklet as Pique Dame, Oprichnik, and the reliable Eugene Onegin. Hvorostovsky sings Yeletzki’s aria handsomely as expected, and the rare opera’s aria for Renée is quite beautiful. Then the pair performs the final scene of Onegin with a potent mixture of elegance and dramatic force.

The bonus tracks are all worthy and undoubtedly only edited out of the main program only for reasons of timing (the main program was offered on PBS in the Great Performances series). Dmitri sings Hamlet’s drinking song from the Ambroise Thomas opera and a rare and very entertaining Anton Rubinstein number. Ms. Fleming gives us her creamy “Casta Diva” and Lisa’s first act aria from Pique Dame.

The Decca set has rudimentary packaging, but the performance itself is classy, and as the travelogue sections are separately tracked, they can easily be skipped on repeat viewings. If one doesn't expect the rollicking adventure of a true odyssey, this set should prove to be high-quality musical entertainment.

Chris Mullins

Click here for a track list.

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):