Bach: Christmas Oratorio

Choir of Trinity College Cambdirge, OAE, Stephen Layton

HYPERION CDA68031/2                 151’49

There are many recordings of the Bach Christmas Oratorio but this is a welcome addition. Crisp and enthusiastic, with bright tempi and clarity of text, it has counter-tenor Iestyn Davies among the soloists under the enthusiastic direction of Stephen Layton. Well worth buying even if you have other recordings already.

Joy to the World: An American Christmas

Handel & Haydn Society, Harry Christophers

CORO COR16117               63’02

Don’t be put off by the title. The American of the title refers to one of the oldest choral societies in the States, not to the source of the music! This is a fine selection covering familiar and much rarer items – ranging from Howells to Bob Chilcott alongside Holst and trad –  all recorded with great sense of style and  lightness of texture.

Hark the Herald Angels Sing

Chor des Bayerischen Rundfunks

BRKLASSIK 900507           73’29

A charming collection which includes solo musical items from oboist Francois Leleux. A reflective approach but effective.

Sullivan: The Beauty Stone

Soloists, BBC National Orchestra of Wales, Rory Macdonald

CHANDOS CHAN 10794(2)            57’18, 72’04

Most readers will be familiar with Gilbert & Sullivan, and many will be aware of Sullivan’s Ivanhoe but few I suspect will know of The Beauty Stone and still fewer have heard any of its music. This new recording fills that gap and explains some of the problems the work has had since its first performances in 1898. The score is one of the most convincing Sullivan ever produced, the orchestration more complex and the melodic lines as good as anything in the Savoy operas. At this point readers can hear the coming but. In this case the but is the story line and libretto. The failure of Ivanhoe does not seem to have deterred Sullivan from returning to his love of the gothic, which proves the biggest stumbling block for the modern listener. There were times I felt myself wishing I could hear this in German or Italian, for then I need only concern myself with the score!

If you can get past the text there is a great deal to enjoy, particularly the solo singing from Toby Spence and Rebecca Evans, and the orchestral work from the BBC under the careful guidance of Rory Macdonald. However, I doubt if even the most adventurous of operatic groups would risk staging it. Let us grateful for the recording!

Gounod: Complete works for pedal piano & orchestra

Howard Shelley, Orchestra della Svizzera Italiana

HYPERION CDA67975      55’56

Every so often a cd comes out which blows you away. This new Gounod disc is just such a one. The recording is an absolute delight throughout and I’ve played it many times to remind myself just how good it is. The opening Suite concertante in A major bubbles with enthusiasm and is not outdone by the following concerto for pedal-piano. If the Fantaisie sur l’hymne national russe seems just a bit of fun it is none the less played with great panache. You really need to hear it!

Britten: War Requiem

Soloists, Chor und Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons

BRKLASSIK 900120           87’00

There have many new recordings and reissues to mark the Britten centenary and this new War Requiem is an apt reminder not only of the passion of the work itself but its versatility in the hands of different conductors.

Mariss Jansons takes an unexpectedly rapid approach to the opening and hurls Mark Padmore into What passing bells. No tempi are out of place but there is an urgency to the recording which speaks as much for concern for the living as a memorial to the dead.  Emily Magee’s rich soprano cuts through effortlessly, as Britten intended with Galina Vishnevskaya originally. Recorded live in Munich the balance is excellent and the boys choir distant without being remote. A fine tribute.

Mahler: Symphonies 1, 2 & 3

Philharmonic Orchestra, Lorin Maazel

SIGNUM SIGCD360      

These recordings were made live in the Royal Festival Hall in the spring of 2011. I wish I had been there. Lorin Maazel brings a transparency of texture to the orchestra which is captivating. This, together with a sense of joy and exultation, must place them amongst the best recordings currently available. Of the soloists, Sarah Connolly is particularly effective in the third symphony.

Elgar: Symphonies 1 & 2

David Briggs, organ of Worcester Cathedral

ACCLAIM APCD4016       57’02  63.02

Recorded live in Worcester Cathedral in April 2012 this is the latest in a series of transcriptions from David Briggs. Much as one can admire the playing and the skill of the work it is difficult not to simply ask Why? With the Mahler transcriptions the changes in texture allowed us to hear things which were too often hidden within a full orchestra, but Elgar’s scoring is not like that. His balance is such that we hear exactly what he wants us to hear. As such there is little gain here. The Second Symphony works better than the first as its extrovert character lends itself more overtly to the organ. But that is not enough excuse in the long run.

Brahms: Symphony No2, Janacek: Glagolithic Mass

Chor und Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons

ARTHAUS 101684

Another live recording and one which allows us to see Mariss Jansons conducting in close up. While we may not want this in the concert hall it is a distinct advantage in recordings as we can follow the nuances and sensitivity of his approach to these scores. What impresses is the lightness of texture and romantic flair in the Brahms. If the Janacek is denser it never seems over complex and the soloists are radiant.

Berlioz: The Trojans

Royal Opera, Antonio Pappano

OPS ARTE OA 1097 D       254’00

David McVicar’s production was seen in the Royal Opera House in June 2012 and given as a concert performance at that summer’s proms. It has the great benefit of working well in close up, and the soloists are never less than convincing. In the large scale scenes, the vast sweep of the action within the metallic walls impresses and the timeless design allows for concentration on the universal impact of war. Eva-Maria Westbroek is a fine Dido and the whole saga is held together by the Aeneas of Bryan Hymel. Most of the choreography is convincing though rather too similar in style. Chorus and orchestra under Antonio Pappano are passionate and committed bringing the great marches and choral scenes to life, in contrast to the delicacy of the many intimate scenes.