Among the interpreters of Mahler’s music in the late twentieth century, Dietrich Fischer-Dieskau and Daniel Barenboim stand out for their various contributions.
Category: Reviews
BERNHARD: Geistliche Harmonien
The composer Christoph Bernhard (born Kolberg, Pomerania, 1628, died, Dresden 1692) embodies the problematic nature of German musical culture in the seventeenth century.
MONTEVERDI: Il ritorno d’Ulisse in patria
This Opus Arte set not only captures a mostly satisfying performance of Monteverdi’s opera based on the last books of Homer’s Odyssey, but features something even rarer: a booklet essay by the musical director (Glen Wilson) of remarkable lucidity.
LE JEUNE: Autant en emporte le vent ó French Chansons
In spite of the religious warfare that consumed France during the second half of the sixteenth century (which claimed the life of one eminent Catholic composer, Antoine de Bertrand, who was murdered by Protestants)*, musical life continued unabated.
PFITZNER: Das Christelflein
Dubbed a “spieloper,” Hans Pfitzner’s Das Christelflein (“The Christmas Elf”) casts a magical, yet appropriately cool, spell, even in the warm days of late May, the time of this review.
Delectatio angeli ó Music of love, longing & lament
Catherine Bott is an English soprano in her fifties with decades of career and an extensive discography, but even in the world of early music, where she has spent most of her time, one could not say she is a marquee name.
B÷HM: Cantatas
“A little learning is a dangerous thing; drink deep, or taste not the Pierian spring”, quoth the great poet Alexander Pope in 1709.
JONES: The Geisha
Should Opera Today readers want to test where they would place themselves on a spectrum ranging from “completely politically incorrect” to “utterly politically correct,” the Hyperion Helios re-release of Sidney Jones “Japanese musical play” The Geisha surely will do the trick.
MANFREDINI: 12 Concerti op. 3
The general aversion of the listening public to vocal music can nowhere be more easily seen than in the comparative success of the operatic and instrumental works of the Italian baroque.
DONIZETTI: Marino Faliero
There was a great northward swing of composers from Italy to Paris and London in the 1820s and 1830s. Actually, this has been going on for a long time, but was temporarily halted by the Napoleonic wars.