Recently in Recordings
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.
19 Dec 2011
San Marco in Hamburg: Motets by Hieronymus Praetorius
In the first part of the seventeenth century, the north German city of Hamburg spawned an unusually rich organ culture, with Jacob Praetorius, the younger, and Heinrich Scheidemann both pupils of the famous Dutch organist, Jan Pieterzoon Sweelinck, as leading figures.
A subsequent generation would be led
by players such as Matthias Weckmann and Johann Adam Reinken, this latter a
figure to whom J. S. Bach would bend the knee in his well-chronicled trip to
Hamburg in 1720. At the earlier end of the spectrum stands the figure of
Hieronymus Praetorius (1560-29), father of Jacob, the younger, and himself
successor to his father, Jacob the elder, at the famed Jakobikirche.
This organ culture was bred by the prominence of the city’s churches,
of which the Petrikirche, Jakobikirche, Catharinenkirche, and Nikolaikirche
were especially significant. And in this environment some of the organists
provided not only organ music, but also notable liturgical music in the form of
motet and canticle. Such is the case with Hieronymus Praetorius, featured here
in the CD anthology “San Marco in Hamburg.” The reference to
“San Marco” acknowledges the strong influence of the Venetian
school of Giovanni Gabrieli. The path from Germany to Venice was reasonably
well worn, with the travels of composers like Heinrich Schütz and Hans Leo
Hassler often cited examples, but the rich sonorities of Venice captivated
other composers who had never heard the music of San Marco in situ.
This was the case with Hieronymus Praetorius (and also with the better known
Michael Praetorius—no family relation), but if learned from afar, it is a
musical style they assimilated with fluency.
In “San Marco in Hamburg” the ensemble Weser-Renaissance Bremen
under the direction of Manfred Cordes explores the Italian-influenced motets of
Hieronymus, and does so with a recording of distinction. Though some of the
pieces are large-scale, Cordes compellingly takes them on with only 15
musicians—six singers singing one-to-a-part and 9 instrumentalists
combining winds, strings, and continuo. The result is that in the sumptuous
12-voice “Jubilate Deo” that opens the recording, the sonic
richness is a subtler taste to savor rather than a full-belted blast of power
that overwhelms. And this holds true for the large number of 8-voice works, as
well. Performed in this way, the clarity of motive, the unflagging attention to
purity of intonation—such wonderful final chords in the sections of the
“Magnificat”!—and general buoyance of the sound can come to
the fore with very satisfying results.
The decorative passage work is well served by the one-to-a-part
configuration, and in motets like “Cantate Domino,” this ornamental
style sparkles as foil to the suave lilt of triple-meter tutti passages. Two of
the motets, “Ab oriente and Wie lang” are performed as solo motets,
with accompanying polyphonic voices played instrumentally. In “Ab
oriente,” this gives a welcome chance to relish the fine control of alto
Peter de Groot’s sensitive singing, and the plaintive ethereal sounds of
soprano Monika Mauch in “Wie lang” offer one of the highlights of