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This recording, made in the Adrian Boult Hall at the Birmingham Conservatoire of Music in June 2014, is the fourth disc in SOMM’s series of recordings with Paul Spicer and the Birmingham Conservatoire Chamber Choir.
Félicien David’s intriguing Le désert, for vocal and orchestral forces plus narrator, was widely performed in its own day, then disappeared from the performing repertory for nearly a century.
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”
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.
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.
Marion Cotillard and Marc Soustrot bring the drama to the sweeping score of Arthur Honegger’s Jeanne d’Arc au
bûcher, an adaptation of the Trial of Joan of Arc
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.
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.
13 Apr 2012
Lulu by the Metropolitan Opera
A recent release by the Metropolitan Opera, this two-disc set makes available on DVD the famous performance of Berg’s Lulu that was broadcast on 20 December 1980 as part of the PBS series “Live from the Met.”
Based on the production that received its Met premiere in 1977, this video makes available John Dexter’s classic presentation of Berg’s opera that James Levine conductor over three decades ago. The Met’s production was a major event because the three-act version of Berg’s score was still new, with houses vying to program it. Even though the opera received a number of fine productions since then, this production of the Met’s Lulu remains a strong and insightful performance, which Levine led masterfully.
Dexter’s staging offers a conventional approach to this unconventional opera, with wonderfully detailed interiors that give a sense of realism to this extraordinary score. While various obvious places in the video do not disclose the fact that this is a filmed opera rather than an opera conceived as a film, the direction gives a sense of intimacy which allows the viewers to observe the work from a closer perspective than if they were in the audience. It is a credit to the sensitivity of the production staff involved with the film that they were able to convey the interactions well, as in the finale scene of Act 2. Yet the film also gives a sense of this specific production with its closeups of Levine conducting from the pit, especially in the orchestral numbers that are part of Berg’s score.
One element unique to this production is the setting of the film music ingeniously. With its use of stills which resemble Manga, the section has a timeless quality which fits well into the live action used for the rest of the film. The sepia-tone images and art-deco are entirely appropriate to the production, with a good sense of cinematic continuity.
The cast was outstanding in its days and their efforts remain laudable. Julia Migenes, perhaps known best for her depiction of Carmen in the film of the opera, is a solid, convincing Lulu. In this role Migenes combines her strong acting abilities with her command of the role. Her coquettish behavior in the first act gives way to an increasingly manipulative persona, which Migenes also expresses well vocally. The penultimate scene in the third act gives a fine sense of how Migenes handles this complex role.
As Countess Geschwitz, Evelyn Lear gives a classic performance which merits attention for the details she brings to its performance. Lear’s Geschwitz is appealing for the dimensions it offers, as both a foil for some aspects of Lulu and as an individual with a compelling presence. Lear offers a Geschwitz with consummate style, which fits well into the production, especially in her impassioned final scene. Likewise, Kenneth Riegel’s Alwa is memorable for the musical and dramatic depth it offers. Riegel’s supple voice works well in this production, where his voice is neither lost in the full orchestral sound nor harsh in the more dramatic passages of the role.
The casting is evenly strong, with both the solo passages and ensembles well executed. The opening scene of the third act offers a brilliant rendering of the cocktail party depicted in the libretto, with the solo voices intersecting the ensemble and orchestra with appropriate style. Frank Mazura gives a strong performance in the dual role of Dr. Schön and Jack the Ripper, as does Andrew Foldi as Schigolch. These and the entire cast work well under Levine’s leadership, which shaped this performance from start to finish.
It is difficult to fault this classic performance of Lulu, except for some aspects that are out of the control of the Met. The color was fine for television in 1980, but it seems faded, even in this well-produced DVD. The sound is rendered well, but suffers at times from the necessary placement of microphones for the broadcast. While not a major obstacle, such details serve as reminders that this is a television broadcast, not a studio recording of the opera. Thus, the subtitles are entirely in English, as would occur in a broadcast. Yet it would be useful to have the original German text as an option for the subtitles.
With several productions of Lulu available on DVD, this one is a solid choice. Dramatically and musically compelling, this performance has much to recommend. The sensuality implicit in the score is not overtly depicted, and so the parental warnings that occur with other releases of this opera are absent from this video. More than that, this performance has historic significance for being part of the production that introduced the Met’s audiences to Berg’s famous opera.