13 Dec 2011
Call Her Flott — Felicity Lott sings in English
Soprano Felicity Lott has concentrated her career in her UK homeland and in Europe, although she certainly has had her share of US appearances.
Recently in Recordings
Henry Purcell, Royal Welcome Songs for King Charles II Vol. III: The Sixteen/Harry Christophers
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.
Anima Rara: Ermonela Jaho
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.
Requiem pour les temps futurs: An AI requiem for a post-modern society
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.
Ádám Fischer’s 1991 MahlerFest Kassel ‘Resurrection’ issued for the first time
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.
Max Lorenz: Tristan und Isolde, Hamburg 1949
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.
Women's Voices: a sung celebration of six eloquent and confident voices
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).
Rosa mystica: Royal Birmingham Conservatoire Chamber Choir
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.
The Prison: Ethel Smyth
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.
Songs by Sir Hamilton Harty: Kathryn Rudge and Christopher Glynn
‘Hamilton Harty is Irish to the core, but he is not a musical nationalist.’
After Silence: VOCES8
‘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.
Beethoven's Songs and Folksongs: Bostridge and Pappano
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.
Flax and Fire: a terrific debut recital-disc from tenor Stuart Jackson
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.
Carlisle Floyd's Prince of Players: a world premiere recording
“It’s forbidden, and where’s the art in that?”
John F. Larchet's Complete Songs and Airs: in conversation with Niall Kinsella
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.
Haddon Hall: 'Sullivan sans Gilbert' does not disappoint thanks to the BBC Concert Orchestra and John Andrews
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’s Choral Symphony and Choral Fantasy from Harmonia Mundi
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.
Taking Risks with Barbara Hannigan
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.
Alfredo Piatti: The Operatic Fantasies (Vol.2) - in conversation with Adrian Bradbury
‘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.’
Those Blue Remembered Hills: Roderick Williams sings Gurney and Howells
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.
Bruno Ganz and Kirill Gerstein almost rescue Strauss’s Enoch Arden
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.
OPERA TODAY ARCHIVES »
Recordings
The operas of Richard Strauss provided her the opportunity often in her career to showcase her stylish and intelligent approach to larger soprano roles. However, in recent years she has found renewed acclaim as the comic lead in Offenbach operettas, such as La Belle Hélène and Le Grand Ducheese de Gerolstein. Her wit and idiomatic French carry the day in these roles, even though the voice at this point in her career has lost some of the plushness that had served her so well in Strauss and Mozart.
Perhaps it is the success she has enjoyed in these comic roles that prompted her to release this CD of lighter material and then top off the package with the casual greeting of Call Me Flott as the title. With the excellent accompaniment of Graham Johnson at the piano, Ms. Lott starts her recital of songs in English with one of the many settings of “It was a lover and his lass,” this one by Geoffrey Bush. Moving onto a piece each by two 20th century masters — Poulenc and Britten — the recital seems at first to be a rather more formal affair than it will later prove to be, and Ms. Lott is on her best recitalist form — enunciating with precision and scaling down her instrument to a more intimate level. Some high notes develop a slight tremor as a result. As the soprano moves onto rarities such as songs in English set by Gounod and Saint-Saens, listeners may begin to feel that calling the soprano “Ms. Lott” is more appropriate than the friendly suggestion of the CD title.
It’s with Noel Coward’s “If Love Were All” than Ms. Lott really seems to relax into “Flott” mode. A smile appears in the voice, and though she takes no jazz-influenced rhythmic or melodic liberties, there is a naturalness to her delivery that feels fresh and contemporary. Some of the “popular” numbers, however, are somewhat dated. Maybe a bolder interpreter would have changed Jerome Kern’s “You can’t make love by wireless” to “You can’t make love by cell phone.” Incidentally, it is only be referencing Mr. Johnson’s expert and detailed booklet notes that one can find the complete names of the composers and the poet or lyricist for the numbers. The track listing only gives composers’ surnames.
Highlights include a tender rendition of Irving Berlin’s “What’ll I do” and several deliciously old-fashioned numbers, such as “The Boy in the Gallery” and “Come on Algernon.” It actually takes a top artist to imbue these simple numbers with a sense of fun without overdoing a knowing wink at the anachronism. For your reviewer, the only odd choice is the straight-faced approach to Cole Porter’s “Miss Otis Regrets,” the droll comic piece about a society matron who must decline a lunch invitation after being arrested for shooting her cheating lover. Perhaps Flott thought it would hurt the piece to camp it up, but this is not Porter’s finest melody, and the number gets a bit dull. Nonetheless, the recital feels quite different than it did at its start by the 27th number (Coward’s “The Party’s Over”). Everyone should be addressing her as Flott by then.
Chris Mullins