Magdalena Kožená and Simon Rattle

PTC5187075-Kozena-Czech-Phil-Folk-Songs-cover-lowresThe new CD from husband and wife team Magdalena Kožená and Sir Simon Rattle consists of four sets of folk songs arranged for mezzo-soprano and orchestra; all of them pretty well known.  There are the Five Hungarian Folk Songs of Bartok, Berio’s Folk Songs (all eleven of them), Ravel’s Cinq mélodies populaires grecques and Montsalvatge’s Cinco canciones negras.

They all get really good performances.  There some extremely fine and idiomatic singing from Kožená with excellent diction in seven different languages from Occitan to Armenian and a real sense of what each cycle is about.  For example, she really catches the Latin American rhythms and feeling in the  Montsalvatge.  But what’s really even more impressive is that she is so perfectly at one with the orchestra.  The rapport is more like what one expects with a really good collaborative pianist.  And the Czech Philharmonic is a really good orchestra as witness their playing of the very complex Berio settings.  It’s an extremely satisfying album on all counts.

It’s well recorded too.  The recordings were made in Dvořàk Hall at the Rudolphinium in Prague at various times between 2020 and 2023 and they are spacious, detailed and well balanced.  There is a booklet with full texts and translations plus other information.  Available formats are physical CD, MP3 and CD quality and 96kHz/24bit FLAC.  I listened to CD quality digital.

Catalogue number: Pentatone PTC 518707

Intense Jenůfa

Janáček’s Jenůfa was staged and recorded at the Staatsoper unter den Linden in 2021 under COVID conditions.  There’s no audience and the chorus members, in black, are distributed all around the auditorium.  Even without a live audience it’s extremely dramatic and intense.

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Secret cypher! Loch Ness Monster!

Stravinsky LSO is a video release on the LSO’s own label of a 2015 concert at the Barbican featuring music by Berg, Webern, Ligeti and Stravinsky conducted by Simon Rattle.  It opens with Webern’s Six Pieces for Orchestra Op.6.  Rattle produces a transparent, clearly articulated and structurally coherent account of this short work.

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A different take on Tosca

For quite some time I have wondered whether it’s possible to reinterpret Puccini’s Tosca or whether the specificity as to time and place in the libretto makes it effectively impossible?  Indeed I had never even seen it tried.  All this despite the many and obvious anachronisms in the libretto.  All the Toscas I had seen were clearly set in Rome in that one week in 1800 (or at least the implausible version of it that’s contained in the libretto)!  Phillip Himmelmann’s production for the 2017 Baden-Baden Easter Festival breaks the mould in giving it a contemporary, or perhaps near future, setting.

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Barbara Hannigan – Concert Documentary

The Hannigan obsession continues.  This time I’ve been looking at a DVD, Barbara Hannigan – Concert Documentary.  It’s in two parts.  There’s a recording of Hannigan as soloist and conductor with the Mahler Chamber Orchestra at the 2014 Lucerne Festival and there’s a documentary, I’m a creative animal, looking at her life and work.

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Best of 2013

So what was I most impressed with on the opera and related scene in in 2013?

Big house opera

frau1The COC had a pretty good twelve months.  I enjoyed everything I saw except, maybe, Lucia di Lammermoor.  Making a choice between Christopher Alden’s probing La Clemenza di Tito, the searing opening night of Peter Sellars’ Tristan und Isolde; the night when I really “got” why people fly across oceans to see this piece, Robert Carsen’s spare and intensely moving Dialogues des Carmélites or Tony Dean Griffey’s intense and lyrical portrayal of the title character in Peter Grimes is beyond me.  So, I shall be intensely disloyal to my home company and name as my pick in this category the Metropolitan Opera’s production of Die Frau ohne Schatten.  Wernicke’s production is pure magic and Anna Schwanewilms was a revelation.

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Flute of death and life

It’s hard to fault any aspect of the new recording of Mozart’s Die Zauberflöte recorded earlier this year at the Baden-Baden festival.  The soloists are consistently good, and in some cases very good indeed, Simon Rattle is in the pit with the Berlin Philharmonic and Robert Carsen’s production is beautiful to look at and thought provoking without being pointlessly provocative.  Add to that first rate video direction and superb Blu-ray sound and picture quality and one has a disk that looks competitive even in the very crowded market for Zauberflöte recordings.

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