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.
O Lieb! presents the lieder of Franz Liszt with a distinctive spark from Cyrille Dubois and Tristan Raës, from Aparté. Though young, Dubois is very highly regarded. His voice has a luminous natural elegance, ideal for the Mélodie and French operatic repertoire he does so well. With these settings by Franz Liszt, Dubois brings out the refinement and sophistication of Liszt’s approach to song.
Liszt’s transcriptions of Schubert Lieder develop the piano part with greater elaboration than Schubert’s originals where naturalism is of the essence. Liszt’s own songs and Lieder reflect the international circles he moved in and the more “modern” times he lived in. As Dubois and Raës explain, “Liszt’s ardour and expression resonate with the youthful nature of our duo, just as his music, so demonstrative and accessible, answers the tumult of our troubled times”.
This is demonstrated in Die Loreley, second version, LWS273 (1841), to the poem by Heinrich Heine, and possibly one of the most beautiful Lieder ever written. The structure is dramatic: almost an opera in miniature, the piano evoking the richness of an orchestra. The first motif rises like an overture, the repeat softer, descending as if from some rocky height to the river below. “Ich weiss nicht, was soll es bedeuten” his voice delicately restrained, so the words “Ein Märchen aus alten Zeiten”, are infused with a sense of wonder. Near-declamation turns to lyrical warmth. “Die Luft ist kühl, und es dunkelt, Und ruhig fliesst der Rhein” the melody dances: the music evoking the flow of the river., complete with sparkling figures and the repeating phrase “Die Loreley”. On the short phrase “Im Abendsonnenschein”, Dubois shapes the dramatic crescendo, expressing the thrill the poet feels as he sees at last the lovely maiden combing her golden hair. The line “Sie kämmt es mit goldenem Kamme” is repeated twice, each time with difference emphasis, a pattern that runs through the whole piece. Enchantment turns to horror, as the poet sees the sailor in his boat dashed upon the rocks. Rolling figures in the piano part descend, like engulfing waves. Tristan Raës low pedalling exudes menace. After the tumult, an eerie calm. Is this the spirit of the Loreley herself, innocently oblivious to what has been done? The song ends with the line “Die Loreley getan!” repeated, the last taken with tessitura so high that it seems to soar to the skies.
Dubois and Raës preceded Die Loreley with Liszt’s Hohe Liebe (LWN18/S307, 850, Uhland), Jugendglück (LWN61/S323, 1860, Richard Pohl), Liebestraum (LW N18/S298, 1850, Freiligrath), Morgens steh’ ich auf und frage (2nd version, LWN16/S290-2, 1859, Heine), and Es rauschen die Winde (2nd version, LWN33/S294, Rellstab). With Vergiftet sind meine Lieder (LW N29/S289, 1859, Heine), its intensity belied by its compact duration, contrasting with the delicacy of Bist Du (LW N29/S289, 1859, Prince Elim Metscherskey). Die Zelle in Nonnenwirth (4th version, LW N6/S274-2, 1860, Furst von Lichnowsy), is a dramatic scena based on medieval legend. Liszt’s setting lifts it above its maudlin text, and Dubois gives it heroic ring. The very well-known Ein Fichetenbaum steht einsam (1st version, LW N36/S309, 1860, Heine) is followed by Nimm einen Strahl der Sonne (LW N20/S310, 1860, Rellstab), and two settings of Liszt’s friend Hoffmann von Fallersleben, Laßt mich ruhen (LW N55/S314, 1859) and In Liebeslust (LW N55/S314, 1859). Der Fischerknabe (1st version, LW N32/S92-1, 1847) is one of three settings Liszt made of poems from Friedrich von Schiller’s William Tell. Thus, the spirit of full-throated freedom. Raës plays the piano line so it evokes “alpine” images - tinkling figures that might be cowbells or pure water in a mountain lake, swelling forth, then precipitately descending. One crescendo after the other in the voice part, posing no problems for a singer like Dubois whose technique is so agile.
Four settings of Victor Hugo : S’il est un charmant gazon (1st version, LW N25/S284-1, 1844),.Enfant, si j’étais roi (2nd version, LW N24/S283-2, 1859), Oh! quand je dors (2nd version, LW N11/S282-2, 1859) and Comment disaient-ils (2nd version, LW N12/S276-2, 1859), showing how Liszt was at ease with Mélodie and with Hugo’s idiom. The last song, in particular, is beautifully balanced, Dubois bringing out its elegant, understated charm.
Liszt’s Three Petrach Sonnets (Trois Sonnets de Pétrarque) (1st version, LW N14/S270-1, 1846) (S270/1 1842-6) are extremely well known, and here receive superb performances, making this recording a recommendation for admirers of the composer. “E nulla stringo, tutto l’mondo abbracio” sang Dubois. His poise is superb - this is how rubato should properly be used. He breathed into “i sospiri e le lagrime e ‘l desio” so it seemed to well up from deep within. Raës sculpted the piano line, as firm as marble. Surprisingly, Liszt only wrote two other songs in Italian. Angiolin dal biondo crin (2nd version, LW N1/S269-2, 1856 Cesare Boccella) is a gentle lullaby for Liszt’s daughter Blandine, then 4 years of age, a little angel with blonde hair. The Marquis de Boccella was a family friend of Liszt and Marie d’Agoult. Thus, the tenderness and intimacy of Dubois’ delivery, Raës’ piano like an embrace.
Anne Ozorio