Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Recordings

Halévy’s Magnificent La reine de Chypre (1841) Gets Its Long-Awaited World Premiere Recording

Halévy’s La reine de Chypre (The Queen of Cyprus) is the 17th opera to be released in the impressively prolific “French Opera” series of recordings produced by the Center for French Romantic Music, a scholarly organization located at the Palazzetto Bru Zane in Venice. (Other recent offerings have included Saint-Saëns’s richly characterized Proserpine, Benjamin Godard’s fascinating Dante--which contains scenes set in Heaven and Hell--and Hérold’s Le pré aux clercs, an opéra-comique that had a particularly long life in the international operatic repertoire.)

Complementary Josquin masses from The Tallis Scholars

This recording on the Gimell label, the seventh of nine in a series by the Tallis Scholars which will document Josquin des Prés’ settings of the Mass (several of these and other settings are of disputed authorship), might be titled ‘Sacred and Profane’, or ‘Heaven and Earth’.

Leos Janacek: Missa Glagolitica

From Decca, Janáček classics with Jiří Bělohlávek conducting the Czech Philharmonic Orchestra. Given that Bělohlávek died in May 2017, all these recordings are relatively recent, not re-issues, and include performances of two new critical editions of the Glagolitic Mass and the Sinfonietta.

New Hans Zender Schubert Winterreise - Julian Prégardien

Hans Zender's Schuberts Winterreise is now established in the canon, but this recording with Julian Prégardien and the Deutsche Radio Philharmonie conducted by Robert Reimer is one of the most striking. Proof that new work, like good wine, needs to settle and mature to reveal its riches.

Magic Lantern Tales: darkness, disorientation and delight from Cheryl Frances-Hoad

“It produces Effects not only very delightful, but to such as know the contrivance, very wonderful; so that Spectators, not well versed in Opticks, that could see the various Apparitions and Disappearances, the Motions, Changes and Actions, that may this way be presented, would readily believe them super-natural and miraculous.”

Vaughan Williams: A Sea Symphony — Martyn Brabbins BBCSO

From Hyperion, an excellent new Ralph Vaughan Williams A Sea Symphony with Martyn Brabbins conducting the BBC Symphony Orchestra and BBC Symphony Chorus, Elizabeth Llewellyn and Marcus Farnsworth soloists. This follows on from Brabbins’s highly acclaimed Vaughan Williams Symphony no 2 "London" in the rarely heard 1920 version.

Superlative Lohengrin from Bayreuth, 1967

The names of Belfast-born soprano Heather Harper and Kansas-born tenor James King may not resonate for younger music lovers, but they sure do for folks my age. Harper was the glowing, nimble soprano in Colin Davis’s renowned 1966 recording of Handel’s Messiah and in Davis’s top-flight recording (ca. 1978) of Britten’s Peter Grimes, featuring Jon Vickers.

Classical Opera: Bastien und Bastienne on Signum Classics

Pride and Prejudice, North and South, Antony and Cleopatra, Much Ado About Nothing: literary fiction and drama are strewn with dissembling lovers who display differing degrees of Machiavellian sharpness in matters of amatory strategy. But, there is an artless ingenuousness about Bastien and Bastienne, the eponymous pastoral protagonists of Mozart’s 1768 opera, who pretend not to love in order to seal their shared romantic destiny, but who require a hefty dose of the ‘Magician’ Colas’s conjuring/charlatanry in order to avoid a future of lonely singledom.

A Stunning Semiramide from Opera Rara

In early October 1822, Gioachino Rossini summoned the librettist Gaetano Rossi to a villa (owned by his wife, the soprano Isabella Colbran) in Castenaso, just outside Bologna. Their project: to work on a new opera, which would be premiered during the Carnival in Venice on 3rd February the following year, based on the legend of Queen Semiramide.

Elgar Orchestral Songs - SOMM

Edward Elgar's Sea Pictures are extremely well-known, but many others are also worth hearing. From SOMM recordings, specialists in British repertoire, comes this interesting new collection of other Elgar orchestral songs, sponsored by the Elgar Society.

Beyond Gilbert and Sullivan: Edward Loder’s Raymond and Agnes and the Apotheosis of English Romantic Opera

Mention ‘nineteenth-century English opera’ to most people, and they will immediately think ‘Gilbert and Sullivan’. If they really know their Gilbert and Sullivan, they’ll probably remember that Sullivan always wanted to compose more serious operas, but that Gilbert resisted this, believing they should ‘stick to their last’: light, comic, tuneful satire.

Pan-European Orpheus : Julian Prégardien

"Orpheus I am!" - An unusual but very well chosen collection of songs, arias and madrigals from the 17th century, featuring Julian Prégardien and Teatro del mondo. Devised by Andreas Küppers, this collection crosses boundaries demonstrating how Italian, German, French and English contemporaries responded to the legend of Orpheus and Eurydice.

Laci Boldemann’s Opera Black Is White, Said the Emperor

We normally think of operas as being serious or comical. But a number of operas-some familiar, others forgotten-are neither of these. Instead, they are fantastical, dealing with such things as the fairy world and sorcerers, or with the world of dreams.

The Devil, Greed, War, and Simple Goodness: Ostrčil’s Jack’s Kingdom

Here is a little-known opera that, like an opera by the Swedish composer Laci Boldemann that I have reviewed here, and like Ravel’s amazing L’enfant et les sortilèges, utterly bypasses the usual categories of comic and grand/tragic by cultivating instead the rich realm of fantasy and folk tale.

Grands motets de Lalande

Majesté, a new recording by Le Poème Harmonique, led by Vincent Dumestre, of music by Michel-Richard de Lalande (1657-1726) new from Alpha Classics. Le Poème Harmonique are regular visitors to London, appreciated for the variety of their programes. On Friday this week, (11/5) they'll be at St John's Smith Square as part of the London Festival of Baroque, with a programme titled "At the World's Courts".

Perpetual Night - Early English Baroque, Ensemble Correspondances

New from Harmonia Mundi, Perpetual Night. a superb recording of ayres and songs from the 17th century, by Ensemble Correspondances with Sébastien Daucé and Lucile Richardot. Ensemble Correspondances are among the foremost exponents of the music of Versailles and the French royalty, so it's good to hear them turn to the music of the Stuart court.

Maria Callas: Tosca 1964: A film by Holger Preusse

When I reviewed Tosca at Covent Garden in January this year for Opera Today, Maria Callas’s 1964 Royal Opera House performance was still fresh in my mind. This is a recording I have grown up with and which, despite its flaws, is one of the greatest operatic statements - a glorious production which Zeffirelli finally agreed to staging, etched in gothic black and white film (albeit just Act II), with Maria Callas and Tito Gobbi, if not always as vocally commanding as they once were, acting out their roles like no one has before, or since.

Hubert Parry and the birth of English Song

British music would not be where it is today without the influence of Charles Hubert Parry. His large choral and orchestral works are well known, and his Jerusalem is almost the national anthem. But in the centenary of his death, we can re-appraise his role in the birth of modern British song.

Camille Saint-Saens: Mélodies avec orchestra

Saint-Saëns Mélodies avec orchestra with Yann Beuron and Tassis Christoyannis with the Orchestra della Svizzera Italiana conducted by Markus Poschner.

Les Funérailles Royales de Louis XIV recreated at Versailles

Les Funérailles Royales de Louis XIV, with Ensemble Pygmalion, conducted by Raphaël Pichon now on DVD/Blu -ray from Harmonia Mundi. This captures the historic performance at the Chapelle Royale de Versailles in November 2015, on the 300th anniversary of the King's death.

OPERA TODAY ARCHIVES »

Recordings

23 Oct 2018

Leos Janacek: Missa Glagolitica

From Decca, Janáček classics with Jiří Bělohlávek conducting the Czech Philharmonic Orchestra. Given that Bělohlávek died in May 2017, all these recordings are relatively recent, not re-issues, and include performances of two new critical editions of the Glagolitic Mass and the Sinfonietta.

Leos Janacek: Missa Glagolitica

Hibla Gerzmava, Veronika Hajnova, Stuart Neill, Jan Martiník, Prague Philharmonic Choir, Czech Philharmonic Orchestra, Jiri Belohlavek

Decca 4834080 [2CDs]

$13.79  Click to buy

Bělohlávek was the kind of conductor who always found fresh insights into what he did, no matter how familiar he was with the repertoire, so this set forms part of a series which commemorates the golden years of Bělohlávek's tenure with the Czech Philharmonic, which revitalized the orchestra as the foremost in its field. Recent releases have included Smetana's Má vlast, perhaps the most powerful expression of Czech identity in music. (Please read my review here), and a monumental Dvořák Stabat Mater. (Please read my review here).

Janáček's Glagolitic Mass (Mša glagolskaja) is heard here in the “September 1927” version edited by Jiří Zahrádka in 2011. It does not of course supersede the final, standard version of the piece. All editions involve informed guesswork, right or wrong. Controversies can be valid : witness the on-going dispute about movement order in Mahler's Sixth Symphony. Whatever the merits of rival editions, the September 1927 approach is distinctive and has its own merits beyond just demonstrating the composer’s working processes. The first edition of this version, by Paul Wingfield in 2008, revealed the raw potential behind Janáček's earliest ideas, and received enough performances to convince of its merits on its own terms. Thus it cannot be dismissed as mere curiosity, which is why Bärenreiter publishes it in two separate formats. The first recording of the 2011 Zahrádka edition was made in September 2013 by Tomáš Netopil and the Prague Radio Symphony Orchestra, just pipping this performance made in October 2013 by Bělohlávek and the Czech Philharmonic, which is more assured in every respect.

Some time before Janáček wrote the work, the Papacy had made special dispensation for Mass to be said in Slavonic instead of in Latin as was the norm then. This was hugely symbolic since it gave legitimacy to Slavic independence at a crucial point in time. The Glagolitic Mass commemorates the ancient roots of Slavic culture, just as the Sinfonietta celebrates the birth of the modern Czech nation. The Glagolitic script dates from the 8th century, long before the Hapsburgs consolidated their grip on Bohemia. This Credo isn't about the "Catholic and Apostolic Church" so much as Janáček's faith in secular and national Resurrection. Moreover, "Glagolitic" masses were held in the open air, with trees instead of stone as buttresses, allowing large communities to come together in Nature and sing. Of this piece, Janácek said: "My cathedral " was “the enormous grandeur of mountains beyond which stretched the open sky…...the scent of moist forests my incense”. Hence the idea of freedom and liberation, which is closer to Janácek's intentions than to a religious interpretation. This version of the Glagolitic Mass is craggier, more dissonant and more abrasive, but may reflect the rough-hewn spirit of the early church, and its possibly pagan antecedents, which is relevant since Janáček, an atheist, chose to set a language that had disappeared for hundreds of years.

Bělohlávek's approach is spirited but unsentimental, given the political background to Czech independence not only in Janáček's time but in the decades after his death. Freedom can't be taken for granted. Bělohlávek and his orchestra lovingly shape the "Janáček:" signatures, star motifs and quirky whips of melody that leap out provocatively against dense, angular blocks of sound. The theme "Gospodi pomiluj gospodi pomiluj" rises first in the orchestra, then in the chorus. Extremely precise singing from the Prague Philharmonic Choir and the soloists Hibla Gerzmava, Veronika Hajnová, Stuart Neill, and Jan Martiník, well experienced regulars in this repertoire, and in this piece in particular. The organ (Aleš Bárta) enters gradually, almost quietly, so whern it bursts forth in the Allegro, it feels wildly explosive, inspiring the orchestra and the chorus. The Credo (Vĕruju) bursts as if a mighty force has been biding its time. Exquisite beautiful moments like the violins in the Sanctus (Svet) before exuberant rhythms return, rushing ever forwards. This performance was recorded live at the Rudolfinium, hence the intense immediacy.

This Sinfonietta is based on the critical edition made by Jiří Zahrádka of the 1927 revision made by the composer, in an arrangement for reduced forces by Heinz Stolba. Given that Bělohlávek made this in February 2017, it is probably a first recording. To quote the publishers, Universal Edition Wien,"the motivation was to prepare a new reduced version to retain the festive effect of the fanfares at the beginning and end of the work, despite avoiding a separately positioned, additional group of brass instruments as prescribed in the original. In contrast to earlier reduced versions, in the present version all passages that were intended for the separate group of brass instruments in the original version are also entirely played by brass instruments. While a total of 25 brass instruments were required to perform the original version, in the present reduced version there are only 12. Moreover, two additional woodwinds were also cut down on, reducing the original number of wind instruments from 37 to 22, without significantly impacting the sonic result". It is shinier and leaner, and would make a dramatic statement in smaller concert halls and on informal occasions. Perhaps it's pertinent to note that 2018 marks the centenary of the founding of the Czech Republic. Though the piece was initially written to celebrate Czechoslovakia's military, it is as much about freedom and free spirits as about the military. If the Andante depicting the Castle at Brno does not loom as magnificently as in the original, there are compensations. The piccolo and flutes are effervescent, and the brass sounds cheerful. The open-air freshness works well in the Allegretto : imagine the people in the streets celebrating, waving flags and being happy.

An atmospheric account of Taras Bulba brings out the composer's Russian soul, but the loom is enlivened by characteristic Janácek feistiness - spiky staccato passages, and expansive open-ness which seems to connect the Prophecy of Taras Bulba to the strange visions of Mr. Brouček. More connections to Svatopluk Čech with The Fiddler's Child, a modern (at the time) retelling of a folk legend.

Anne Ozorio

   

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):