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.
Decca loves to repackage this set. Your reviewer first acquired it as a low-price "Double Decca" release, with no libretto. Just a couple years ago saw another incarnation, with a great cover pic of Price and Karajan locked in an embrace - Karajan as Scarpia? Or Cavaradossi - take one's pick.
Now under the double sobriquet "Legendary recordings - The originals" comes a remastering, with the original cover art restored. The sound effects come across as vividly as ever, including hands down the best cannon-shot accompaniment to Scarpia's act one closer. In headphones, the channel-switching from line-to-line could be more subtle; otherwise, the recording has a clarity and presence that fully complement the dramatic reading of the score.
Of course, for studio recordings of Tosca, the appellation "benchmark" invariably goes to the early 50s set with Callas, di Stefano in his prime, and Gobbi under Victor de Sabata. But greatness in recordings need not be a zero-sum game - and this Decca set very much has its own strengths. Your reviewer can't say one set is better than the other - they are both tremendous.
Callas, of course, portrays a Tosca on the edge - as fierce in her love for Cavaradossi as she is passionate in her desperation before Scarpia. With Price, one has a Floria whose incomparable tonal beauty in act one tilts the drama, effectively, toward the perspective of a tragically doomed love affair. When she sings of the little house she wants to share with Cavaradossi, Price's security and creaminess have no equal; the sense of an erotic idyll conveyed here haunts the memory when much later Cavaradossi in despair also recalls their meetings. Similarly, "Vissi d'arte" does not get pulled and huffed to underline the drama of the moment - Price understands that the music can speak for itself. Her performance has no rivals for sheer gorgeousness.
Di Stefano had come through some rough years by 1963, and he responds to Karajan's confidence in him by providing one final great performance. Yes, the freshness that marks his performance 10 years earlier has gone. In its place a new depth, a rough-edged heroism appears. From the second act onward, at any rate, Cavaradossi is a man who has been tortured and faces death. A little hoarseness should be expected. The core quality of di Stefano's great instrument still comes through.
And what a Scarpia this set has - Giuseppe Taddei, in total command of every vocal aspect of the role, and riding the creepy slow-pace Karajan sets for the "Te deum" section with ominous power. As with the comparison of Price to Callas, we have with Taddei, as opposed to the undeniably great Tito Gobbi on the earlier set, a singer who lets his impeccable performance of the music itself provide the drama. From wicked enjoyment in his own cruelty to the silky murmurings of a smooth seducer, Taddei's Scarpia finds all the characterization necessary in the glory of Puccini's writing.
The Vienna Philharmonic roars and purrs under Karajan's leadership like a barely domesticated lion. As is not unknown with Karajan, a sense of manipulation lies just behind the amazing display of conducting craftsmanship, but why fight the maestro? Give in.
Whether those who already own this set need the remastering must be a personal decision. But for lovers of this opera who do not know this recording - get it. It makes its own case for greatness, all comparisons aside.
Chris Mullins