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.
The CD incarnation of this performance, reviewed earlier on Opera Today, faces the formidable competition of an earlier Philips set conducted by Lamberto Gardelli, with Jose Carreras, Montserrat Caballé, and Jessye Norman in the cast. As a recording, that set remains the best recommendation for this neglected (fairly or not) Verdi score.
Giuseppe Verdi: Il Corsaro
Zvetan Michailov (tenor), Renato Bruson (baritone),Michela Sburlati (soprano),Adriana Damato (soprano).
Orchestra e Coro del Teatro Regio di Parma, Renato Palumbo (cond.),Lamberto Puggelli (dir.)
Dynamic DVD 33468 [DVD]
The CD incarnation of this performance, reviewed earlier on Opera Today, faces the formidable competition of an earlier Philips set conducted by Lamberto Gardelli, with Jose Carreras, Montserrat Caballé, and Jessye Norman in the cast. As a recording, that set remains the best recommendation for this neglected (fairly or not) Verdi score.
However, the DVD release of the Parma performance offers enough reward for it to merit attention from more than just those with an affection for early Verdi. Some singers who were not favored by the microphones reveal much more to admire when seen as well as heard. And with a mostly imaginative, attractive production, this incoherent melodramatic folderol comes into focus as a more than interesting predecessor to its great successor, Il Trovatore.
In fact, not only does the plot bear some strong parallels to the later opera (as briefly described in the earlier review of the CD), but the music does as well. The first soprano aria, for the Corsair's beloved, has a sad, minor key feel that suggests Tacea la notte. The corsair himself opens the opera with an extended scene that musically resembles the great third act Manrico double-whammy of Ah, sì ben mio and Di quella pira, to the extent that the Corsair even ends his cabaletta, joined by chorus, with cries of "all'armi"!
And the nefarious baritone role, here a cruel Muslim warlord named Seid, has his Il balen del suo sorriso moment as well, as he laments his unreciprocated longing for a slave girl. And what a great aria name: Cento leggiadre vergini, translated on the DVD as "A hundred lissome virgins1..." And where on earth would one find a hundred of those?
After hearing the unprepossessing CD, the DVD performance comes as something of a revelation. The melodies grow on one, so that suddenly one sits forward and realizes that the score has sunk into one's subconscious. No, it is not Trovatore, but Corsair's music provides a very satisfying alternative.
The singers deserve further reevaluation as well. Bruson sounds only tired and strained on the CD. He still is on the DVD, but his dignified, even arrogant bearing fills in the outlines of this character sketch, and helps the listener to forgive the exhaustion of his voice.
The tenor, Zvetan Michailov, has been mauled by a vicious make-up artist, especially as regards his eyes. But his voice is strong and manly, although his acting leaves much to be desired.
Adriana Damato, however, really must be seen to be appreciated. Her middle range is not her glory, and that seems to be emphasized on the CD. Seen and heard live, Damato inhabits the slave girl role fully, with sensuality and pride, and offers some fine singing, especially in the top of her range. Hers is the most successful total performance of the cast.
Unfortunately, the other soprano, Michela Sburlati, does not improve when seen as well as heard. Her wayward intonation and struggle to maintain a line make her role, thankfully brief, rather a trial.
Conductor Palumbo appears to be a young man; on the basis of this performance, many houses should look to him for Verdi. His leadership is sensitive and dynamic as called for, and he gets tremendous playing from a youthful appearing Teatro Regio di Parma orchestra.
As mentioned before, the attractive production finds creative ways to suggest different locales with a minimum of changes, mostly due to effective lighting. Not all the costuming can be praised — Damato appears to be wearing jeans in her final scene, and the Corsair dons a hideous blue jacket. Bruson gets to stride through the performance, however, in some very elegant silks, the caftan equivalent of a white tux. Very nice.
Corsaro is a short opera, about 90 minutes, and the story telling makes Trovatore seem to be a naturalistic masterpiece. The music, however, for any Verdi lover, should not be dismissed. If one has the Philips set, return to it and rediscover some marvelous tunes. If not, take a chance on this DVD. It may be no classic performance, but despite the liability of one disappointing singer, the DVD provides enough pleasure to justify adding it to the collection.
Chris Mullins
Los Angeles Harbor College
1 More correctly translated as "One hundred fair virgins."