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

Liszt Petrarca Sonnets complete – Andrè Schuen, Daniel Heide

An ambitious new series focusing on the songs of Franz Liszt, starting with all three versions of the Tre Sonetti del Petrarca, (Petrarca Sonnets), S.270a, S.270b and S.161 with Andrè Schuen and Daniel Heide for Avi-music.de.

Une soirée chez Berlioz – lyrical rarities, on Berlioz’s own guitar

Une soirée chez Berlioz – an evening with Berlioz, songs for voice, piano and guitar, with Stéphanie D’Oustrac, Thibaut Roussel (guitar), and Tanguy de Williencourt (piano).

A Baroque Christmas from Harmonia Mundi

A baroque Christmas from Harmonia Mundi, this year’s offering in their acclaimed Christmas series. Great value for money - four CDs of music so good that it shouldn’t be saved just for Christmas. The prize here, though is the Pastorale de Noël by Marc-Antoine Charpentier with Ensemble Correspondances, with Sébastien Daucé, highly acclaimed on its first release just a few years ago.

Christmas at St George’s Windsor

Christmas at St George’s Chapel, Windsor, with the Choir of St. George’s Chapel, Windsor Castle, James Vivian, organist and conductor. New from Hyperion, this continues their series of previous recordings with this Choir. The College of St George, founded in 1348, is unusual in that it is a Royal Peculiar, a parish under the direct jurisdiction of the monarch, rather than the diocese.

From Darkness into Light: Antoine Brumel’s Complete Lamentations of Jeremiah for Good Friday

As a musicologist, particularly when working in the field of historical documents, one is always hoping to discover that unknown score, letter, household account book - even a shopping list or scribbled memo - which will reveal much about the composition, performance or context of a musical work which might otherwise remain embedded within or behind the inscrutable walls of the past.

Time and Space: Songs by Holst and Vaughan Williams

New from Albion, Time and Space: Songs by Holst and Vaughan Williams, with Mary Bevan, Roderick Williams, William Vann and Jack Liebeck, highlighting the close personal relationship between the two composers.

Puccini's Le Willis: a fine new recording from Opera Rara

The 23-year-old Giacomo Puccini was still three months from the end of his studies at the Conservatoire in Milan when, in April 1883, he spotted an announcement of a competition for a one-act opera in Il teatro illustrato, a journal was published by Edoardo Sonzogno, the Italian publisher of Bizet's Carmen.

Liszt: O lieb! – Lieder and Mélodie

O Lieb! presents the lieder of Franz Liszt with a distinctive spark from Cyrille Dubois and Tristan Raës, from Aparté. Though young, Dubois is very highly regarded. His voice has a luminous natural elegance, ideal for the Mélodie and French operatic repertoire he does so well. With these settings by Franz Liszt, Dubois brings out the refinement and sophistication of Liszt’s approach to song.

The Academy of Ancient Music's superb recording of Handel's Brockes-Passion

The Academy of Ancient Music’s new release of Handel’s Brockes-Passion - recorded around the AAM's live performance at the Barbican Hall on the 300th anniversary of the first performance in 1719 - combines serious musicological and historical scholarship with vibrant musicianship and artistry.

Vaughan Williams: The Song of Love

From Albion, The Song of Love featuring songs by Ralph Vaughan Williams, with Kitty Whately, Roderick Williams and pianist William Vann. Albion is unique, treasured by Vaughan Williams devotees for rarely heard repertoire from the composer’s vast output, so don’t expect mass market commercial product. Albion recordings often highlight new perspectives.

A new recording of Henze’s Das Floß der Medusa

Henze’s Das Floß der Medusa is in some ways a work with a troubled and turbulent history. It is defined by the time in which it was written – 1968 – a period of student protest throughout central Europe. Its first performance was abandoned because the Hamburg chorus refused to perform under the Red Flag which had been placed on stage; and Henze himself decided he wouldn’t conduct it at all after police stormed the concert hall to remove protesters, among them the librettist Ernst Schnabel.

Berthold Goldschmidt: Beatrice Cenci, Bregenzer Festspiele

Berthold Goldschmidt’s Beatrice Cenci at last on DVD, from the Bregenzer Festspiele in 2018, with Johannes Debus conducting the Wiener Symphoniker, directed by Johannes Erath, and sung in German translation.

Sandrine Piau: Si j’ai aimé

Sandrine Piau and Le Concert de la Loge (Julien Chauvin), Si j’ai aimé, an eclectic collection of mélodies demonstrating the riches of French orchestral song. Berlioz, Duparc and Massenet are included, but also Saint-Saëns, Charles Bordes, Gabriel Pierné, Théodore Dubois, Louis Vierne and Benjamin Godard.

The VOCES8 Foundation is launched at St Anne & St Agnes

Where might you hear medieval monophony by the late 12th-century French composer Pérotin, Renaissance polyphony by William Byrd, a vocal arrangement of the stirring theme from Sibelius’s tone poem Finlandia, alongside a newly commissioned work, ‘Vertue’ (2019) by Jonathan Dove, followed by an arrangement of the Irish folksong ‘Danny Boy’ and a snappy rendition of Antonio Carlos Jobim’s ‘One Note Samba’ arr. for eight voices by Naomi Crellin, all within 90 minutes?

Gerald Finzi Choral Works

From Hyperion, Gerald Finzi choral works with the Choir of Trinity College, Cambridge, conducted by Stephen Layton. An impressive Magnificat (1952) sets the tone.

Herbert Howells: Choir of King’s College, Cambridge

The Choir of King’s College, Cambridge has played a role in the evolution of British music. This recording honours this heritage and Stephen Cleobury’s contribution in particular by focusing on Herbert Howells, who transformed the British liturgical repertoire in the 20th century.

Mieczysław Weinberg: Symphony no. 21 (“Kaddish”)

Mieczysław Weinberg witnessed the Holocaust firsthand. He survived, though millions didn’t, including his family. His Symphony no. 21 “Kaddish” (Op. 152) is a deeply personal statement. Yet its musical qualities are such that they make it a milestone in modern repertoire.

Kenshiro Sakairi and the Tokyo Juventus Philharmonic in Mahler’s Eighth

Although some works by a number of composers have had to wait uncommonly lengthy periods of time to receive Japanese premieres - one thinks of both Mozart’s Jupiter and Beethoven’s Fifth (1918), Handel’s Messiah (1929), Wagner’s Parsifal (1967), Berlioz’s Roméo et Juliette (1966) and even Bruckner’s Eighth (1959, given its premiere by Herbert von Karajan) - Mahler might be considered to have fared somewhat better.

Lise Davidsen sings Wagner and Strauss

Superlatives to describe Lise Davidsen’s voice have been piling up since she won Placido Domingo’s 2015 Operalia competition, blowing everyone away. She has been called “a voice in a million” and “the new Kirsten Flagstad.”

Nicky Spence and Julius Drake record The Diary of One Who Disappeared

From Hyperion comes a particularly fine account of Leoš Janáček’s song cycle The Diary of One Who Disappeared. Handsome-voiced Nicky Spence is the young peasant who loses his head over an alluring gypsy and is never seen again.

OPERA TODAY ARCHIVES »

Recordings

Aparté AP200
14 Oct 2019

Liszt: O lieb! – Lieder and Mélodie

O Lieb! presents the lieder of Franz Liszt with a distinctive spark from Cyrille Dubois and Tristan Raës, from Aparté. Though young, Dubois is very highly regarded. His voice has a luminous natural elegance, ideal for the Mélodie and French operatic repertoire he does so well. With these settings by Franz Liszt, Dubois brings out the refinement and sophistication of Liszt’s approach to song.

Liszt: O lieb!

Cyrille Dubois (tenor), Tristan Raës (piano)

Aparté AP200 [CD]

£13.99  Click to buy

Liszt’s transcriptions of Schubert Lieder develop the piano part with greater elaboration than Schubert’s originals where naturalism is of the essence. Liszt’s own songs and Lieder reflect the international circles he moved in and the more “modern” times he lived in. As Dubois and Raës explain, “Liszt’s ardour and expression resonate with the youthful nature of our duo, just as his music, so demonstrative and accessible, answers the tumult of our troubled times”.

This is demonstrated in Die Loreley, second version, LWS273 (1841), to the poem by Heinrich Heine, and possibly one of the most beautiful Lieder ever written. The structure is dramatic: almost an opera in miniature, the piano evoking the richness of an orchestra. The first motif rises like an overture, the repeat softer, descending as if from some rocky height to the river below. “Ich weiss nicht, was soll es bedeuten” his voice delicately restrained, so the words “Ein Märchen aus alten Zeiten”, are infused with a sense of wonder. Near-declamation turns to lyrical warmth. “Die Luft ist kühl, und es dunkelt, Und ruhig fliesst der Rhein” the melody dances: the music evoking the flow of the river., complete with sparkling figures and the repeating phrase “Die Loreley”. On the short phrase “Im Abendsonnenschein”, Dubois shapes the dramatic crescendo, expressing the thrill the poet feels as he sees at last the lovely maiden combing her golden hair. The line “Sie kämmt es mit goldenem Kamme” is repeated twice, each time with difference emphasis, a pattern that runs through the whole piece. Enchantment turns to horror, as the poet sees the sailor in his boat dashed upon the rocks. Rolling figures in the piano part descend, like engulfing waves. Tristan Raës low pedalling exudes menace. After the tumult, an eerie calm. Is this the spirit of the Loreley herself, innocently oblivious to what has been done? The song ends with the line “Die Loreley getan!” repeated, the last taken with tessitura so high that it seems to soar to the skies.

Dubois and Raës preceded Die Loreley with Liszt’s Hohe Liebe (LWN18/S307, 850, Uhland), Jugendglück (LWN61/S323, 1860, Richard Pohl), Liebestraum (LW N18/S298, 1850, Freiligrath), Morgens steh’ ich auf und frage (2nd version, LWN16/S290-2, 1859, Heine), and Es rauschen die Winde (2nd version, LWN33/S294, Rellstab). With Vergiftet sind meine Lieder (LW N29/S289, 1859, Heine), its intensity belied by its compact duration, contrasting with the delicacy of Bist Du (LW N29/S289, 1859, Prince Elim Metscherskey). Die Zelle in Nonnenwirth (4th version, LW N6/S274-2, 1860, Furst von Lichnowsy), is a dramatic scena based on medieval legend. Liszt’s setting lifts it above its maudlin text, and Dubois gives it heroic ring. The very well-known Ein Fichetenbaum steht einsam (1st version, LW N36/S309, 1860, Heine) is followed by Nimm einen Strahl der Sonne (LW N20/S310, 1860, Rellstab), and two settings of Liszt’s friend Hoffmann von Fallersleben, Laßt mich ruhen (LW N55/S314, 1859) and In Liebeslust (LW N55/S314, 1859). Der Fischerknabe (1st version, LW N32/S92-1, 1847) is one of three settings Liszt made of poems from Friedrich von Schiller’s William Tell. Thus, the spirit of full-throated freedom. Raës plays the piano line so it evokes “alpine” images - tinkling figures that might be cowbells or pure water in a mountain lake, swelling forth, then precipitately descending. One crescendo after the other in the voice part, posing no problems for a singer like Dubois whose technique is so agile.

Four settings of Victor Hugo : S’il est un charmant gazon (1st version, LW N25/S284-1, 1844),.Enfant, si j’étais roi (2nd version, LW N24/S283-2, 1859), Oh! quand je dors (2nd version, LW N11/S282-2, 1859) and Comment disaient-ils (2nd version, LW N12/S276-2, 1859), showing how Liszt was at ease with Mélodie and with Hugo’s idiom. The last song, in particular, is beautifully balanced, Dubois bringing out its elegant, understated charm.

Liszt’s Three Petrach Sonnets (Trois Sonnets de Pétrarque) (1st version, LW N14/S270-1, 1846) (S270/1 1842-6) are extremely well known, and here receive superb performances, making this recording a recommendation for admirers of the composer. “E nulla stringo, tutto l’mondo abbracio” sang Dubois. His poise is superb - this is how rubato should properly be used. He breathed into “i sospiri e le lagrime e ‘l desio” so it seemed to well up from deep within. Raës sculpted the piano line, as firm as marble. Surprisingly, Liszt only wrote two other songs in Italian. Angiolin dal biondo crin (2nd version, LW N1/S269-2, 1856 Cesare Boccella) is a gentle lullaby for Liszt’s daughter Blandine, then 4 years of age, a little angel with blonde hair. The Marquis de Boccella was a family friend of Liszt and Marie d’Agoult. Thus, the tenderness and intimacy of Dubois’ delivery, Raës’ piano like an embrace.

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):