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

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.

A Falstaff Opera in Shakespeare’s Words: Sir John in Love

Only one Shakespeare play has resulted in three operas that get performed today (whether internationally or primarily in one language-region). Perhaps surprisingly, the play in question is a comedy that is sometimes considered a lesser work by the Bard: The Merry Wives of Windsor.

A Resplendent Régine Crespin in Tosca

There have to be special reasons to release a monophonic live recording of a much-recorded opera. Often it can give us the opportunity to hear a singer in a major role that he or she never recorded commercially—or did record on some later occasion, when the voice was no longer fresh. Often a live recording catches the dramatic flow better than certain studio recordings that may be more perfect technically.

Karine Deshayes’s Astonishing New Rossini Recording

Critic and scholar John Barker has several times complained, in the pages of American Record Guide, about Baroque vocal recitals that add instrumental works or movements as supposed relief or (as he nicely calls them) “spacers.”

Knappertsbusch’s Only Recording of Lohengrin Released for the First Time

Hans Knappertsbusch was one of the most renowned Wagner conductors who ever lived. His recordings of Parsifal, especially, are near-legendary among confirmed Wagnerians.

Kathleen Ferrier Remembered

Kathleen Ferrier Remembered, from SOMM Recordings, makes available on CD archive broadcasts of British and German song. All come from BBC broadcasts made between 1947 and 1952. Of the 26 tracks in this collection, 19 are "new", not having been commercially released. The remaining seven have been remastered by sound restoration engineer Ted Kendall. Something here even for those who already own the complete recordings.

Color and Drama in Two Choral Requiems from Post-Napoleonic France

The Requiem text has brought out the best in many composers. Requiem settings by Mozart, Verdi, and Fauré are among the most beloved works among singers and listeners alike, and there are equally wondrous settings by Berlioz and Duruflé, as well as composers from before 1750, notably Jean Gilles.

Matthias Goerne - late Schumann songs, revealed

Matthias Goerne Schumann Lieder, with Markus Hinterhäuser, a new recording from Harmonia Mundi. Singers, especially baritones, often come into their prime as they approach 50, and Goerne, who has been a star since his 20's is now formidably impressive. The colours in his voice have matured, with even greater richness and depth than before.

LALO and COQUARD: La Jacquerie

La Jacquerie—here recorded for the first time—proves to be a wonderful opera, bringing delight upon delight.

Urania Remasters Marriage of Figaro

Good news for lovers of Mozart’s Marriage of Figaro: the famous Living Stereo recording, a co-production of RCA Victor and English Decca, is now available again, well remastered, on Urania.

Opera Rara: new recording of Bellini's Adelson e Salvini

In May 2016, Opera Rara gave Bellini aficionados a treat when they gave a concert performance of Vincenzo Bellini’s first opera, Adelson e Salvini, at the Barbican Hall. The preceding week had been spent in the BBC’s Maida Vale Studios, and this recording, released last month, is a very welcome addition to Opera Rara’s bel canto catalogue.

Jonas Kaufmann : Mahler Das Lied von der Erde

Jonas Kaufmann Mahler Das Lied von der Erde is utterly unique but also works surprisingly well as a musical experience. This won't appeal to superficial listeners, but will reward those who take Mahler seriously enough to value the challenge of new perspectives.

The "Lost" Songs of Morfydd Owen

A new recording, made late last year, Morfydd Owen : Portrait of a Lost Icon, from Tŷ Cerdd, specialists in Welsh music, reveals Owen as one of the more distinctive voices in British music of her era : a grand claim but not without foundation. To this day, Owen's tally of prizes awarded by the Royal Academy of Music remains unrivalled.

Early Swedish opera - Stenhammer world premiere

The Feast at Solhaug : Henrik Ibsen's play Gildet paa Solhaug (1856) inspired Wilhelm Stenhammer's opera Gillet på Solhaug. The world premiere recording is now available via Sterling CD, in a 3 disc set which includes full libretto and background history.

Walter Braunfels Orchestral Songs Vol 2

Honours yet again to Oehms Classics who understand the importance of excellence. A composer as good, and as individual, as Walter Braunfels deserves nothing less.

The Tallis Scholars: Josquin's Missa Di dadi

‘Can great music be inspired by the throw of the dice?’ asks Peter Phillips, director of The Tallis Scholars, in his liner notes to the ensemble’s new recording of Josquin’s Missa Di dadi (The Dice Mass). The fifteenth-century artist certainly had an abundant supply of devotional imagery. As one scholar has put it, during this age there was neither ‘an object nor an action, however trivial, that [was] not constantly correlated with Christ or salvation’.

OPERA TODAY ARCHIVES »

Recordings

Sony 509248
03 Oct 2015

“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.

Nessun Dorma — The Puccini Album (Deluxe Edition)

Jonas Kaufmann and Kristine Opolais. Coro dell’Accademia Nazionale di Santa Cecilia, Orchestra dell’Accademia Nazionale di Santa Cecilia, Antonio Pappano, cond.

Sony 509248 [2CDs]

$13.99  Click to buy

The “legitimate” Puccini album, released in September by Sony Classical, offers a few rarities alongside the mainstays of the tenor repertoire, with classic arias from Tosca and La Bohème presented alongside lesser-known arias from the earliest operas, Le Villi and Edgar, all culminating in a Kaufmann-esque, characteristically heartfelt “Nessun Dorma” on the final track. Throughout the sixteen tracks, the orchestra and chorus of the Accademia Nazionale di Santa Cecilia, conducted passionately if at times unevenly by Antonio Pappano, underscores the raw triumph and tragedy of Puccini’s various operas.

In addition to the title track, the excerpts from Puccini’s third opera, Manon Lescaut, stand out by virtue of their placement as the opening of the recording, made more significant by the fact that they are the only pieces to appear out of chronological order. (Perhaps Kaufmann’s portrayal of Des Grieux at the Met Opera this season has something to do with this.) Kaufmann’s rich and plaintive “Donna non vidi mai” effectively sets the tone for the recording, spotlighting the technical and intuitive strength of which Kaufmann is capable and snatching the listener’s ears into the piercing warmth and lucidity of his vocal sound world. Three other selections from this opera drive home this impression, especially the electrifying “Oh, sarò la più bella!”, the duet in which Kaufmann’s Des Grieux falls in love with the temptress Manon Lescaut (here sung glowingly by Kristine Opolais). Indeed, Kaufmann states in the liner notes that the electricity he felt among the orchestra, conductor, and Opolais was so strong that they “had the feeling from the opening bar: only one take needed!”

The dip back into the past after Manon Lescaut, with selections from Puccini’s first two operas, is most welcome. In “Ei giunge!... Torna ai felici dì” from Le Villi, the orchestra’s whispers, which gradually turn into rumbles, eventually blend with Kaufmann’s searing voice, which provides depth and variety to the occasionally syrupy phrasing during the orchestra’s later passages. Throughout the similarly melancholy “Orgia, chimera dall'occhio vitreo” from Edgar, the blustering orchestra is balanced by Kaufmann’s more delicate vocals and a sweetly lilting oboe solo. The inclusion of these two operas manages to hold the listener’s attention after the gripping Manon Lescaut introduction, even managing to sustain interest through the more run-of-the-mill selections that follow. The expected excerpts from Tosca and Madama Butterfly are fittingly triumphant, while “O Soave Fanciulla” from La Bohème —another successful duet with Opolais, whose voice searingly overlaps and intertwines with Kaufmann’s—flickers with the incandescent hope and warmth of Mimì’s candle.

But the strongest tracks are from the final operas: La Fanciulla del West, La Rondine, Il Trittico, and Turandot. Despite imbalanced orchestra dynamics that flip-flop between overpowering and anemic, the two selections from La Fanciulla del West are still quite moving; Kaufmann’s masterful renditions of “Una parola sola!...or son sei mesi” and “Risparmiate lo scherno...ch’ella mi creda libero” refuse to get drowned out by their accompaniment. The passage from Gianni Schicchi, typically sung by a light tenor, feels fluid and emotionally resonant in Kaufmann’s skillful hands, while the two final tracks, both from Turandot, kick the tragic overtones into high gear and allow for a suitably robust close to the album. Despite the vague splotches of unevenness within the orchestra and conducting, the recording proves an exemplary portrait not only of Kaufmann as a vocalist, but of the trajectory of Puccini’s artistic legacy.

Rebecca S. Lentjes

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):