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

Jean Sibelius: Kullervo

Why did Jean Sibelius suppress Kullervo (Op. 7, 1892)? There are many theories why he didn’t allow it to be heard after its initial performances, though he referred to it fondly in private. This new recording, from Hyperion with Thomas Dausgaard conducting the BBC Scottish Symphony Orchestra, soloists Helena Juntunen and Benjamin Appl and the Lund Male Chorus, is a good new addition to the ever-growing awareness of Kullervo, on recording and in live performance.

Mahler: Titan, Eine Tondichtung in Symphonieform – François-Xavier Roth, Les Siècles

Not the familiar version of Mahler's Symphony no 1, but the “real” Mahler Titan at last, as it might have sounded in Mahler's time! François-Xavier Roth and Les Siècles present the symphony in its second version, based on the Hamburg/Weimar performances of 1893-94. This score is edited by Reinhold Kubik and Stephen E.Hefling for Universal Edition AG. Wien.

Verdi: Messa da Requiem - Staatskapelle Dresden, Christian Thielemann (Profil)

It has often been the case that the destruction wrought by wars, especially the Second World War, has been treated unevenly by composers. Theodor Adorno’s often quoted remark, from his essay Prisms, that “to write poetry after Auschwitz would be barbaric” - if widely misinterpreted - is limited by its scope and in a somewhat profound way composers have looked on the events of World War II in the same way.

Matthias Goerne: Schumann – Liederkreis, op 24 & Kernerlieder

New from Harmonia Mundi, Matthias Goerne and Lief Ove Andsnes: Robert Schumann – Liederkreis, op 24 and Kernerlieder. Goerne and Andsnes have a partnership based on many years of working together, which makes this new release, originally recorded in late 2018, well worth hearing.

Leonard Bernstein: Tristan und Isolde in Munich on Blu-ray

Although Birgit Nilsson, one of the great Isolde’s, wrote with evident fondness – and some wit – of Leonard Bernstein in her autobiography – “unfortunately, he burned the candles at both ends” – their paths rarely crossed musically. There’s a live Fidelio from March 1970, done in Italy, but almost nothing else is preserved on disc.

Stéphanie D’Oustrac: Sirènes

After D’Oustrac’s striking success as Cassandre in Berlioz Les Troyens, this will reach audiences less familiar with her core repertoire in the baroque and grand opéra. Berlioz’s Les nuits d’été and La mort d’Ophélie, Wagner’s Wesendonck Lieder and the Lieder of Franz Liszt are very well known, but the finesse of D’Oustrac’s timbre lends a lucid gloss which makes them feel fresh and pure.

Luminous Mahler Symphony no.3: François-Xavier Roth, Gürzenich-Orchester Köln

Gustav Mahler’s Symphony No.3 with François-Xavier Roth and the Gürzenich-Orchester Köln, now at last on CD, released by Harmonia Mundi, after the highly acclaimed live performance streamed a few months ago.

A First-Ever Recording: Benjamin Godard’s 1890 Opera on Dante and Beatrice

The composer Benjamin Godard (1849–95) is today largely unknown to most music lovers. Specialist collectors, though, have been enjoying his songs (described as “imaginative and delightful” by Robert Moore in American Record Guide), his Concerto Romantique for violin (either in its entirety or just the dancelike Canzonetta, which David Oistrakh recorded winningly decades ago), and some substantial chamber and orchestral works that have received first recordings in recent years.

Between Mendelssohn and Wagner: Max Bruch’s Die Loreley

Max Bruch Die Loreley recorded live in the Prinzregenstheater, Munich, in 2014, broadcast by BR Klassik and now released in a 3-CD set by CPO. Stefan Blunier conducts the Münchner Rundfunkorchester with Michaela Kaune, Magdalena Hinterdobler, Thomas Mohr and Jan-Hendrick Rootering heading the cast, with the Prager Philharmonischer Chor..

Gottfried von Einem’s The Visit of the Old Lady Now on CD

Gottfried von Einem was one of the most prominent Austrian composers in the 1950s–70s, actively producing operas, ballets, orchestral, chamber, choral works, and song cycles.

Britten: Hymn to St Cecilia – RIAS Kammerchor

Benjamin Britten Choral Songs from RIAS Kammerchor, from Harmonia mundi, in their first recording with new Chief Conductor Justin Doyle, featuring the Hymn to St. Cecilia, A Hymn to the Virgin, the Choral Dances from Gloriana, the Five Flower Songs op 47 and Ad majorem Dei gloriam op 17.

Si vous vouliez un jour – William Christie: Airs Sérieux et à boire vol 2

"Si vous vouliez un jour..." Volume 2 of the series Airs Sérieux et à boire, with Sir William Christie and Les Arts Florissants, from Harmonia Mundi, following on from the highly acclaimed "Bien que l'amour" Volume 1. Recorded live at the Philharmonie de Paris in April 2016, this new release is as vivacious and enchanting as the first.

Bohuslav Martinů – What Men Live By

World premiere recording from Supraphon of Bohuslav Martinů What Men Live By (H336,1952-3) with Jiří Bělohlávek and the Czech Philharmonic Orchestra from a live performances in 2014, with Martinů's Symphony no 1 (H289, 1942) recorded in 2016. Bělohlávek did much to increase Martinů's profile, so this recording adds to the legacy, and reveals an extremely fine work.

Berlioz: Harold en Italie, Les Nuits d'été

Hector Berlioz Harold en Italie with François-Xavier Roth and Les Siècles with Tabea Zimmermann, plus Stéphane Degout in Les Nuits d’été from Hamonia Mundi. This Harold en Italie, op. 16, H 68 (1834) captures the essence of Romantic yearning, expressed in Byron's Childe Harold’s Pilgrimage where the hero rejects convention to seek his destiny in uncharted territory.

Le Bal des Animaux : Works by Chabrier, Poulenc, Ravel, Satie et al.

Belgian soprano Sophie Karthaüser’s latest song recital is all about the animal kingdom. As in previous recordings of songs by Wolf, Debussy and Poulenc, pianist Eugene Asti is her accompanist in Le Bal des Animaux, a delightful collection of French songs about creatures of all sizes, from flea to elephant and from crayfish to dolphin.

Wolfgang Rihm: Requiem-Strophen

The world premiere recording of Wolfgang Rihm's Requiem-Strophen (2015/2016) with Mariss Jansons conducting the Symphonieorchester des Bayerischen Rundfunks and the Chor des Bayerischen Rundfunks with Mojca Erdmann, Anna Prohaska and Hanno Müller-Brachmann, from BR Klassik NEOS.

Ravel’s Magical Glimpses into the World of Children

This is the fifth CD in a series devoted to Ravel’s orchestral works.

About an enfant: Ravel’s Opera about Childhood and Debussy’s Prodigal Son

This recording of Ravel’s second (and last) one-act opera was made during a concert, and -somewhat daringly - with rather close microphone placement. As it turns out, everything went smoothly.

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’.

OPERA TODAY ARCHIVES »

Recordings

Harmonia Mundi HMM 902621 [CD]
19 Feb 2019

Stéphanie D’Oustrac: Sirènes

After D’Oustrac’s striking success as Cassandre in Berlioz Les Troyens, this will reach audiences less familiar with her core repertoire in the baroque and grand opéra. Berlioz’s Les nuits d’été and La mort d’Ophélie, Wagner’s Wesendonck Lieder and the Lieder of Franz Liszt are very well known, but the finesse of D’Oustrac’s timbre lends a lucid gloss which makes them feel fresh and pure.

Sirènes

Stéphanie d’Oustrac, mezzo-soprano; Pascal Jourdan, piano.

Harmonia Mundi HMM 902621 [CD]

$19.98  Click to buy

D’Oustrac’s Sirènes is also valuable because it demonstrates different approaches to the art of song for voice and piano. Berlioz’s Les Nuits d’été op 7, to poems by Théophile Gautier, initially completed in 1841, was exactly contemporary with the works of Schumann’s Liederjahre. Later, Berlioz would expand the accompaniment for orchestra, effectively creating a new genre, orchestral art song, which would be developed later in the century by composers like Mahler and Hugo Wolf. Nonetheless, even in the original form for voice and piano, these songs are highly individual, quite distinct from the songs of Schumann and Mendelssohn. “I only wish people to know that [these works] exist”, wrote Berlioz, “ that they are not shoddy music . . . and that one must be a consummate musician and singer and pianist to give a faithful rendering of these little compositions, that they have nothing to do with the form and style of Schubert’s songs”.

These mélodies of Berlioz are characterized by elegance and restraint. In “Villanelle”, for example, the repeating patterns in the piano part might evoke Schubert, but there’s an effervescent gaiety in them that is matched by graceful flow of the vocal line. In “Le spectre de la rose”, the more languid pace allows the voice to curve sensuously. Berlioz clearly understood the carnal undertones in Gautier’s poetry. The piano part is gentle, but persistent, like an embrace. When D’Oustrac’s tone deepens with the phrase “Ô toi qui de ma mort fus cause”, one can almost sense the perfume rising from the petals of the doomed rose. Although Les Nuits d’été is not a song cycle in the strictest sense of the term, recurring themes of love, and death and perpetual change give it a coherence which is particularly clear when it is performed with the intimate focus that a single singer and pianist can achieve. The three songs, “Sur les lagunes : Lamento”, “Absence” and “Au cimetière: Clair de lune”, form a unit, sombre with the stillness of the tomb, which is then broken by “L’île inconnue” where the ebullient high spirits of “Villanelle” return. Les Nuits d’été begins with promise of Spring and new life, and ends with adventure. “La voile enfle son aile, La brise va souffler.”, D’Oustrac breathing buoyancy into the word “souffler”. Though Heine inspired Mendelssohn and Schumann with dreams of the East, Gautier and Berlioz are tapping into an even deeper vein in the French aesthetic : ideas of freedom, change and new frontiers in exotic settings. D’Oustrac and Jourdan extend Les Nuits d’été by following it with Berlioz’s La mort d’Ophélie, from Tristia op 18, a setting of a ballade by Ernest Legouvé, who, like Berlioz himself, adapted Shakespeare for French theatre. Ophélie, who dies for love, floats upon a torrent, depicted in the rippling piano part. “Mais cette étrange mélodie passa rapide comme un son”. Though the voice imitates a lament, this is not so much a song of mourning but a transformation through music. The stream carries “la pauvre insensée, Laissant à peine commencée Sa mélodieuse chanson.”

This recording is titled Sirènes, tying Berlioz’s songs together with Richard Wagner’s Wesendonck Lieder, both inspired, in part, by women who awoke strong emotions. Sirens, who attract but aren’t necessarily positive, though they generated great art. With full orchestration, the Wesendonck Lieder showcase Wagnerian flamboyance. But, as with Les Nuits d’été , voice and piano versions concentrate focus on a more intimate scale. Even more pertinently, this highlights Wagner’s place in the context of the Lieder of his time, and in relation to Schumann and Franz Liszt. “Der Engel” is gentle, and the dramatic declamation of “Stehe Still !” more human scale. D’Oustrac and Jourdan are particularly impressive in “Im Treibhaus”, the sensitivity of their expression reflecting the intense inwardness that makes Lieder as powerful a genre as opera.

One of the most iconic siren figures of 19th century Romanticism was the Loreley. This recording begins with one of the most beautiful Loreley songs of all, Liszts’s “Die Loreley” S273/2, a setting of Heine’s poem. D’Oustrac’s silvery timbre illuminates the song, accentuating its mystery. She and Jourdan include another other Liszt setting of Heine, “Im Rhein im schönen Strome”, S272/3 and four settings of Goethe, of which “Über allen Gipfeln ist Ruh” S306/2 works particularly well with D’Oustrac’s lucid style.

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):