Today marks the 225th anniversary of Mozart’s death. To commemorate it Universal Records (Deutsche Grammophon and Decca basically) have put together a special commemorative edition which I have had a chance to dip into, but not much more than dip into, because it is huge. It’s a cuboid about the size of an LP record and a little over half as deep. It weighs 10kg. Inside are 200 CDs containing the complete works of Mozart including juvenalia, fragments, arrangements and alternative versions. There’s also a copy of the latest Kerchel catalogue, some prints and two very handsome hardback books; a new biography by Cliff Eisen and a second volume containing essays and work by work commentary. What there isn’t is libretti for the vocal works but it actually gets better. One can go to the website mozart225.com and download an app, offered in a choice of languages, with the libretti of all the works plus translation. (You do need the code from the set to do this). OK so I’m a bit of a gadget freak but all the Mozart libretti on my phone? How cool is that?
Mozart 225
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Remembrance is a new CD, on the Harmonia Mundi label, from the Choir of Clare College and their director Graham Ross to be released October 21st in time for poppy season. The main event is a performance of Duruflé’s Requiem given here in the composer’s organ reduction. It’s recorded in Lincoln Cathedral with its great Father Willis organ. It’s a very polished performance with a fair bit of drama. There’s some lovely singing and cello playing from mezzo Jennifer Johnston and cellist Guy Johnston in the Pie Jesu and bass Neal Davies also makes a couple of trenchant contributions. It’s not one of the most performed requiems but definitely worth a listen. 
Couperin’s Leçons de Ténèbres sets texts from Lamentations and is incredibly beautiful in a very French baroque way as well as rather being music to cut your wrists to. There’s a new CD recording of it by English sopranos Lucy Crowe and Elizabeth Watts with La Nuova Musica directed by David Bates. It’s very fine. Both Crowe and Watts give exemplarty performances. They use minimal vibrato; just enough to create some resonance in louder passages and both have a wonderfully expressive trill. Coupled with really expressive playing from Jonathan Rees – viola da gamba, Alex McCartney – theorbo and David Bates – organ, it’s a real pleasure to listen to. Interestingly the three sections of the Leçons are separated by two trio sonatas by Sébastian de Brossard where the instrumentalists are joined by Bojan Čičić and Sabine Stoffer – violins. It works really well. The disc is rounded out by Brossard’s Stabat Mater, another rather lovely piece of Lenten dolorosity. The singers on this last are Miriam Allan, James Arthur, Nicholas Scott and Simon Wall with Jonathan Rees – viola da gamba, Judith Evans – double bass, Alex McCartney – theorbo and Silas Woolaston – organ. The recording, made in St. Augustine’s Kilburn, is clear and well balanced with an ambience that suits the music well.
This review first appeared in the print edition of 
This review first appeared in the print edition of 
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The New American Art Song is a CD of, unsurprisingly, American art songs. Canadian bass-baritone Daniel Okulitch is accompanied by the composers in four contrasting sets. The first set is Quiet Lives by Ricky Ian Gordon; eight songs setting texts by various poets. The music is tonal with occasional elements of minimalism but overall a bit of a retro “piano lounge” feel that didn’t particularly excite me.
This review first appeared in the print edition of 
This review first appeared in the print edition of 
This review first appeared in the print edition of 
operaramblings 