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.
This production offers a different view of Norma. As Stage Director Guy Joosten explains in the introduction on the first of a 2-disc set, he wanted to give the audience “more” of what he believes the modern audience expects.
The video opens with an Italian tenor arriving at the opera house to sing Pollione. He is dressed in mid-20th century garb. When he turns on the speaker in his “dressing room,” we hear the familiar opening notes of Norma. Our tenor proceeds to unpack his makeup bag and to gaze happily at an opera fan magazine on which his face graces the cover. His female dresser comes in leaving the armor that he will wear on the stage as Pollione, along with some red roses that apparently have been sent to him. Others arrive and chat with him as well and, of course, they all get to see the magazine cover picture.
A large fallen tree dominates the stage, with its tall root structure resting on a shiny black floor. The older soprano arrives in all her Diva glory…..dark glasses, a fur wrap over her silver trench coat. She poses for pictures and signs autographs for her adoring fans.
Our younger singer comes in and begins to prepare to sing Adalgisa only to find a bouquet of red roses on her dressing table. It is the same bunch of flowers that our tenor had received which he left for her after removing the card. Do we begin to get the picture ….. our Italian tenor is a bit of a cad!
But this is a production of Norma and little by little our principals don at least partial period costumes as they begin to take their places in the opera. With the trappings of the modern day story always present in things like the ultra-modern looking dressing tables and racks of street clothes visible, the traditional opera unfolds.
As Pollione’s problems—his affairs with two women—inevitably come to light, we finally see Hugh Smith as Pollione and not as the Italian tenor. It took him awhile to warm up, which resulted in a strained top. But his sound improved as the performance proceeded.
Romanian-born Nelly Miricioui was cast to perform the role of Norma; however, for a variety of reasons, Hasmik Papian assumed the part on short notice. Her Casta Diva is not a show-stopper; but it nicely sets the stage for what is to come. Norma is a demanding role, which Papian performed with aplomb. She clearly understood Norma (the traditional Norma). She could be angry, remorseful, sad and regal when it was called for and seemed to move through the moods of this complicated woman with grace both vocally and as an actress.
Irini Tsirakidis, Adalgisa, was a nice surprise. New to me, Tsirakidis brought this character to life. Adalgisa is in the most impossible position, with her challenging role being both musically and dramatically interesting. It is important to me that this role work well for this opera to achieve its full dramatic impact.
Giorgio Giuseppini as Orovesco was a bit woolly and wobbly. Nevertheless, this fit his character as an elderly gentleman. And, of course, he does not have much to do other than stand around and sing.
Carol Bosi as Flavio performed well, although the part is little more than window dressing. His presence is only necessary so Pollione can talk about his women problems but not much else. Bosi possesses a pretty sounding instrument.
So the tale moves on to its sad ending when Norma and Pollione are to die together by mutual consent. The scene is beautifully sung by all. As Norma and Pollione are about to walk into the fire, they are back in their Italian tenor and aging soprano clothes. Why? Who knows. Instead of going off with Norma, Pollione takes one last step back toward Adalgisa. But Norma proceeds to walk off stage to her plight and the curtain comes down. Strange….yes. Are we supposed to think that he might not follow Norma?
If you are interested in this DVD I suggest viewing the introduction on Disc 1 first. The discussion by the stage director and conductor Julian Reynolds makes all the difference in attempting to understand what they were trying to do with this bel canto masterpiece.
Norma stands alone for me. It does not need updating or additions to sustain it. But this is not an uninteresting reading of Bellini’s work. I wonder how he might have felt about such a production.
Cheryl Dowden