The Sixteen continues its exploration of Henry Purcell’s Welcome Songs for Charles II. As with Robert King’s pioneering Purcell series begun over thirty years ago for Hyperion, Harry Christophers is recording two Welcome Songs per disc.
In February this year, Albanian soprano Ermonela Jaho made a highly lauded debut recital at Wigmore Hall - a concert which both celebrated Opera Rara’s 50th anniversary and honoured the career of the Italian soprano Rosina Storchio (1872-1945), the star of verismo who created the title roles in Leoncavallo’s La bohème and Zazà, Mascagni’s Lodoletta and Puccini’s Madama Butterfly.
Collapsology. Or, perhaps we should use the French word ‘Collapsologie’ because this is a transdisciplinary idea pretty much advocated by a series of French theorists - and apparently, mostly French theorists. It in essence focuses on the imminent collapse of modern society and all its layers - a series of escalating crises on a global scale: environmental, economic, geopolitical, governmental; the list is extensive.
Amongst an avalanche of new Mahler recordings appearing at the moment (Das Lied von der Erde seems to be the most favoured, with three) this 1991 Mahler Second from the 2nd Kassel MahlerFest is one of the more interesting releases.
If there is one myth, it seems believed by some people today, that probably needs shattering it is that post-war recordings or performances of Wagner operas were always of exceptional quality. This 1949 Hamburg Tristan und Isolde is one of those recordings - though quite who is to blame for its many problems takes quite some unearthing.
The voices of six women composers are celebrated by baritone Jeremy Huw Williams and soprano Yunah Lee on this characteristically ambitious and valuable release by Lontano Records Ltd (Lorelt).
As Paul Spicer, conductor of the Royal Birmingham Conservatoire Chamber Choir, observes, the worship of the Blessed Virgin Mary is as ‘old as Christianity itself’, and programmes devoted to settings of texts which venerate the Virgin Mary are commonplace.
Ethel Smyth’s last large-scale work, written in 1930 by the then 72-year-old composer who was increasingly afflicted and depressed by her worsening deafness, was The Prison – a ‘symphony’ for soprano and bass-baritone soloists, chorus and orchestra.
‘Hamilton Harty is Irish to the core, but he is not a musical nationalist.’
‘After silence, that which comes closest to expressing the inexpressible is music.’ Aldous Huxley’s words have inspired VOCES8’s new disc, After Silence, a ‘double album in four chapters’ which marks the ensemble’s 15th anniversary.
A song-cycle is a narrative, a journey, not necessarily literal or linear, but one which carries performer and listener through time and across an emotional terrain. Through complement and contrast, poetry and music crystallise diverse sentiments and somehow cohere variability into an aesthetic unity.
One of the nicest things about being lucky enough to enjoy opera, music and theatre, week in week out, in London’s fringe theatres, music conservatoires, and international concert halls and opera houses, is the opportunity to encounter striking performances by young talented musicians and then watch with pleasure as they fulfil those sparks of promise.
“It’s forbidden, and where’s the art in that?”
Dublin-born John F. Larchet (1884-1967) might well be described as the father of post-Independence Irish music, given the immense influenced that he had upon Irish musical life during the first half of the 20th century - as a composer, musician, administrator and teacher.
The English Civil War is raging. The daughter of a Puritan aristocrat has fallen in love with the son of a Royalist supporter of the House of Stuart. Will love triumph over political expediency and religious dogma?
Beethoven Symphony no 9 (the Choral Symphony) in D minor, Op. 125, and the Choral Fantasy in C minor, Op. 80 with soloist Kristian Bezuidenhout, Pablo Heras-Casado conducting the Freiburger Barockorchester, new from Harmonia Mundi.
A Louise Brooks look-a-like, in bobbed black wig and floor-sweeping leather trench-coat, cheeks purple-rouged and eyes shadowed in black, Barbara Hannigan issues taut gestures which elicit fire-cracker punch from the Mahler Chamber Orchestra.
‘Signor Piatti in a fantasia on themes from Beatrice di Tenda had also his triumph. Difficulties, declared to be insuperable, were vanquished by him with consummate skill and precision. He certainly is amazing, his tone magnificent, and his style excellent. His resources appear to be inexhaustible; and altogether for variety, it is the greatest specimen of violoncello playing that has been heard in this country.’
Baritone Roderick Williams seems to have been a pretty constant ‘companion’, on my laptop screen and through my stereo speakers, during the past few ‘lock-down’ months.
Melodramas can be a difficult genre for composers. Before Richard Strauss’s Enoch Arden the concept of the melodrama was its compact size – Weber’s Wolf’s Glen scene in Der Freischütz, Georg Benda’s Ariadne auf Naxos and Medea or even Leonore’s grave scene in Beethoven’s Fidelio.
Don Giovanni: Leporello's Revenge Mozart's opera presented from the point of view of Don Giovanni's servant, Leporello. 55 minutes Color / Stereo Copyright Date: 2000 ISBN: 1-56029-885-5 Mozart's Don Giovanni is arguably one of his most complex, politically controversial, and...
Don Giovanni: Leporello's Revenge
Mozart's opera presented from the point of view of Don Giovanni's servant, Leporello.
55 minutes
Color / Stereo
Copyright Date: 2000
ISBN: 1-56029-885-5
Mozart's Don Giovanni is arguably one of his most complex, politically controversial, and forward-thinking operas. It's no wonder that many music students and opera buffs place such a heavy emphasis on this opera as they grasp the genre. Yet, rather than faithfully presenting this operatic masterwork, Bullfrog Films has produced a new twist, Don Giovanni: Leporello's Revenge with the imaginative artistic vision of director Barbara Willis Sweete.
Leporello begins in a 1930's Hollywood screening room declaring before the opera cast his wish to be a gentleman and no longer a servant, singing the opening lines of "Notte E Giorno Faticar." Leporello gets his wish, appearing as the star, Don Giovanni, in his black and white film playing on the screen behind him. As Giovanni, he plays the first scenes masked, concealing his true identity to the cast watching the film. Yet in the famous scene where the couples find Leporello in the garden disguised as Giovanni, the truth is known that Giovanni is Leporello! His fate of truly becoming his master is realized when the unrepentant Giovanni falls into the fiery pits of hell, and Leporello is pulled down with him.
Sweete's vision "...alludes to the notion that the Don and his servant are alter-egos, opposite sides of the same person". Using the film medium, she is able to fuse both roles of Don Giovanni and Leporello into a single performance, which is impossible live given the difficulties for singer and director.
Russian baritone Dmitri Hvorostovsky takes on the almost unattainable quest to meld the characters of Giovanni and Leporello, supported by Richard Bradshaw, general director of the Canadian Opera Company, and a Canadian cast consisting of Dominique Labelle (Donna Anna), Gary Relyea (Commendatore), Liesel Fedkenheuer (Donna Elvira), Michael Colvin (Ottavio), Krisztina Szabo (Zerlina), and Alain Coulombe (Masetto).
Leporello's Revenge is a provocative take on an operatic masterpiece, infusing unprecedented intrigue and suspense into a time-honored classic. Whether you're an opera buff or an uninitiated student, brush up on your opera history, sit back and get ready for an adventure!
Sarah Hoffman