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.
Monserratt Caballé’s journey to La Scala and the Metropolitan Opera was truly a road of talent, dedication, and will. One of the most beautiful and athletic voices of our generation, declared as Callas’ successor, Caballé dominated both the dramatic spinto and bel canto arenas, transcending the realm of the opera world to influence the popular masses.
Caballe: Beyond Music
TDK DV-DOCMSC [DVD]
Monserratt Caballé's journey to La Scala and the Metropolitan Opera was truly a road of talent, dedication, and will. One of the most beautiful and athletic voices of our generation, declared as Callas' successor, Caballé dominated both the dramatic spinto and bel canto arenas, transcending the realm of the opera world to influence the popular masses.
EuroArts' DVD documentary Caballé: Beyond Music follows Caballé along the singer's path to success. Opening with Caballé entering her childhood conservatory of Barcelona, we witness the very roots that have supported her throughout her career. She talks warmly about memories of her teacher, the endless hours of practice and study, and those rare moments sneaking into the concert hall to sing. Her story is that of Cinderella; growing up in a poor family during post World War II, her family could no longer support her studies until the Betrand family, a wealthy Barcelona family influential in the arts, came to provide for her. On a whim, the family had Caballé sing for Conchita Bodia, a famous Lied singer and prized student of Granados. Bodia became her mentor and teacher, instilling in her a love for the songs of Strauss.
We follow Caballé as she recounts her first audition tour at the age of 23. Though told to go home and have children, Caballé found the strength in her to continue and secure a place in the opera house of Bremin, Germany. There she developed her prize roles of Mimí, Butterfly, and Violetta, and a firm foundation as a house lead singer. Her overnight success is attributed to a quick cover for a pregnant Marilyn Horne singing Lucrezia Borgia at the Met. From there, Caballé moves on to Covent Garden, singing Zeffirelli's Tosca, Norma at Paris Opera, and Semiramade at the Festival Aix-en-Provence.
This documentary delivers video footage of scenes from Adriana Lecouvreur, Tosca, Norma, and a duet with Marilyn Horne from Semiramade. We also hear from established artists and close friends of Caballé, including Claudio Abbado, José Carreras, Plácido Domingo, Renée Fleming, Zubin Mehta, Freddie Mercury, Mstislav Rostopovich, Cheryl Studer, Giuseppe di Stefano and Joan Sutherland. EuroArts also includes footage of live concerts with her daughter, soprano Montserrat Marti, as well as a performance with Freddy Mercury at the opening of the 1992 Olympics in Barcelona.
It is clear that Caballé was truly one of the top performers of our time. She says, "When a singer truly feels and experiences what the music is all about, the words will automatically ring true." With a voice of angel, executing a pure, spinning piano at the top of her range with endless phrasing, she always aimed to be of service to the composer. Yet, EuroArts is able to take us beyond the performance to find the warm and endearing woman that is Caballé.
Sarah Hoffman