CD round up

My “to watch” pile now consists entirely of older productions of 19th century operas (pretty much the dregs of the Toronto Public Library collection) and the COC season doesn’t start for another six weeks or so. I have one other live performance booked before then; a rather peculiar Handel piece performed in various locations at a local hotel. I’ve been listening to some new CDs then at least partly as a form of procrastination.

The first two were part of an ENO “goody bag” that I scored on Twitter.  Songs of Muriel Herbert is a most worthwhile project.  Herbert, like so many women composers, has never had the recognition she deserves.  Not as “romantic” as a drug addled loon like Peter Warlock I guess.  The CD contains thirty six songs setting texts ranging from Peter Abelard to James Joyce.  I’d say they stand up well against other early twentieth century English art songs and would be well worth mining by anyone looking for some less well known recital repertory.  The works are most sympathetically performed by Ailish Tynan, James Gilchrist and David Owen Norris.  Continue reading

Banned by the Nazis

Both Viktor Ullmann and Alexander Zemlinsky were among the group of composers persecuted by the Nazi regime. Ullman would die in Auschwitz, Zemlinsky in exile and obscurity.  This 2008 recording from Los Angeles Opera’s “Recovered Voices” series brings together two one act operas; Ullman’s Der zerbrochene Krug and Zemlinsky’s Der Zwerg.  in productions directed by Darko Tresnjak and conducted by James Conlon.

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Claustrophobic and Intense Don Carlo

The first time I tried to watch Willy Decker’s 2004 production of Verdi’s Don Carlo at De Nederlandse Opera I failed to get past Rolando Villazón in doublet and hose. To anyone familiar with British TV comedy of a certain era the resemblance is just too close and I couldn’t get beyond the idea of Stephen Fry as Felipe II and Miranda Richardson as Elisabetta. This time around I watched the highly illuminating video introduction and read Wily Decker’s useful essay on his production concept before tackling the piece proper. I’m glad I did that and I’m glad I came back to this recording because it is very fine and it was very useful to have Decker and Chailly’s perspectives on the dramaturgy and the music.

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Conspicuous Consumption

Richard Eyre’s production of La Traviata at the Royal Opera House, filmed in 2009, is a pretty good example of how to do a traditional production.  There’s nothing conceptual or thought provoking to it but the direction is careful and tells the story clearly and well.  The designs are mid 19th century with crinolines and tail coats but with the odd imaginative touch and a welcome refusal to succumb to the “more stuff” syndrome that plagues so many Verdi and Puccini productions.  Backed up by excellent music making it probably makes a near ideal introduction to the piece, even if it won’t entirely displace Willy Decker’s brilliant and disturbing Salzburg production in my affections.

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Karajan’s Otello

So, another lip synched film from the 1970s. This time it’s Verdi’s Otello starring Jon Vickers and Mirella Freni.  What makes this one a bit different is that Herbert von Karajan not only conducts but directs as well.  It’s a curious piece with fantastic music making but no real production concept, continuity errors, some very dodgy acting and puzzling cinematography in places.  It’s never dull though.  Continue reading