Peter Eötvös’ 1998 opera Tri sestry is based on the Chekhov play and was recorded live at Oper Frankfurt in 2018. It takes fragments of the original Russian play and recombines them in a non-linear way to create a prologue and three “Sequences” from the points of view of Irina, Andrei and Mascha repectively. The recombination is complex enough for the accompanying booklet to contain a table mapping Chekhov’s scene order to Eötvös’. There’s no libretto in the CD package so even flipping between the (fairly detailed) synopsis and the track listing it’s hard to figure out who is singing or about what. No doubt this was much clearer when watching the stage production.
Matters are not made any easier by giving all the female roles to male singers. The sisters and Natascha are given to counter tenors while the nanny Anfisa is sung by a bass. This is fine except that a non-trivial amount of text is spoken and counter tenors sound just like any other male when speaking which further increases the difficulty of keeping things straight, especially with a cast of thirteen characters! Non-Russian speakers are unlikely to be able to follow much of the text anyway as singers sing over each other for most of the first two Sequences. It does get a bit more open and sparer in the third sequence and someone with a strong knowledge of the language will likely pick up nuances there that I missed.
…let me explain is a new CD of Canadian art song (mostly) from soprano Christina Raphaëlle Haldane. The first set consists of three arrangements of Acadian folk songs by by Carl Philippe Gionet. The three are quite different. L’Escaouette is fast, high, rhythmic and very high energy. Tout Passe is much more elegiacal while Wing Tra La is very playful. They are sung quite beautifully with piano accompaniment from the arranger. Ahania’s Lament is a longish piece in which Blake’s text is set by Samy Mousa. It’s a tough sing with a lot of high exposed passages against a minimal accompaniment. It’s a piece that it’s easy to get drawn into. It’s a good vehicle for Haldane’s crystalline upper register. Piano accompaniment by M.Gionet again.
The latest release on the Chandos label from Sir Andrew Davis consists of three works by Sir Arthur Bliss; The Enchantress, Meditations on a Theme by John Blow and Mary of Magdala.
I’ve been listening to Christoph Prégardien and Michael Gees’ new Schumann and Wagner recording for a number of reasons. I was very impressed with 
Peter Greve is a Dutch composer of works for various forces all of which could, I suppose, be considered tone poems as they all have thematic/storyline elements. The “stories” for the pieces on the CD can be found 
Acquanetta; music by Michael Gordon, libretto by Deborah Artman, is a one act chamber opera in ten scenes lasting around 70 minutes. It’s a sort of homage to the B movie horror genre and specifically riffs off the 1943 film Captive Wild Woman in which a mad scientist turns an ape into a sultry temptress. The opera got its North American premier in Brooklyn in January 2018 and was reviewed by Patrick Dillon in Opera Canada Volume LVIII No. 4. Subsequently a CD version was recorded in the studio.
The Toronto Symphony have a new CD out. It’s a couple of Berlioz works recorded under the baton of Sir Andrew Davis at Roy Thomson Hall in September 2018. The first piece is the rarely heard Fantaisie sur la Tempête de Shakespeare for which the orchestra is joined by the Toronto Mendelssohn Choir. It’s an early piece inspired by one of Berlioz’ unrequited passions (like everything else by Berlioz!) and was considered daringly modern in its day. It’s said to be the first piece to introduce a harp to the symphony orchestra and it also includes piano four hands. It’s very colourful and rather brash which is territory that Sir Andrew excels in. There’s great clarity to both the singing and the playing.
Suzanne Farrin’s Dolce la morte sets poems by Michelangelo inspired by his relationship with Tommaso de’ Cavalieri dealing with the joy and complexity of desire and spiritual fulfillment. They are really intense poems and Farrin has scored them for counter tenor and seven piece chamber ensemble. The music is complex and intriguing. The vocal line consists mainly of long, high legato lines that play around with pitch in a variety of ways. The instrumental accompaniment is often also quite high and somewhat drone like with percussive insertions and places where the strings sound uncannily like another voice. It’s haunting and quite disturbing and definitely the sort of music one doesn’t fully “get” on first hearing but which makes one want to come back to it.
I got hold of the recent Chandos recording of Berlioz’ L’Enfance du Christ largely because I wanted to take a look at the Super Audio CD format. On that subject my thoughts are 
Heimweh is a CD of Schubert songs from young German soprano Anna Richter and pianist Gerold Huber with a bit of help from clarinettist Matthias Schorn. It’s an interesting combination of the familiar and the less familiar with a bit of a leaning to the more lyrical, less dramatic end of the Schubert canon. Familiar material includes Der Hirt auf dem Felsen and the three parts of Ellens Gesang but there’s material that I’m much less familiar with too like Der Zwerg and Viola. I guess thirteen minute long songs about snowdrops just don’t get programmed that often. There’s also the slightly odd Abschied; where the piano accompanies spoken text.
operaramblings 