Daily Archives: 18 July, 2017

DVDs/CDs July 2017

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Donizeti: Rosmonda d’Inghilterra
Donizetti Opera, Sebastiano Rolli
DYNAMIC 37757

This is a revised edition of the score based on primary sources, of a work which has five substantial solo parts which require technical finesse as well as stamina. The story is loosely based on Henry II and Eleanor of Aquitaine, and his affair with Rosmonda. After what appears to be a fairly conventional approach to the narrative it has a totally unexpected ending. Leonora (Eleanor) stabs Rosmonda to death and the chorus say Oh Dear­ –just that; no final chorus, no lingering death aria. Just Oh Dear and down curtain. It is a real shock even today and must have been outrageous at the time. It may also account for the lack of enthusiasm for the work which, from all other points of view, is finely structured and gives the soloists a lot to do.

The two women – Jessica Pratt as Rosmonda and Eva Mei as Leonora – are splendid, though the two male protagonist are certainly powerful in approach. Sebastiano Rolli conducts from memory and brings spirited accompaniment from the pit. The production is often couched in stygian darkness and the chorus seem as lost as the audience as to what they are supposed to be doing. However, this should not put you off as the work has real merits.

Faure; Music for Cello and Piano
Andreas Brantelid, cello; Bengt Forsberg, piano
BIS 2220

This cd mixes the familiar with the lesser known to good effect. All of the eleven pieces have real worth, and include the Sonata No2 and the original arrangement of the Romance for cello and harmonium. An engaging disc.

Tchaikovsky: The Sleeping Beauty; The Nutcracker; Swan Lake
Bergen Philharmonic Orchestra, Neeme Jarvi
CHANDOS CHSA 5204(5)

These recordings were issued separately but are very welcome as a complete set. Not only are the scores complete in themselves but Neeme Jarvi brings an entirely orchestral approach to them so that we hear concert music rather than ballet scores. While I expect some might find the tempi somewhat difficult to accept in terms of the dance, it makes for very exciting listening.

Busoni: Orchestral works
BBC Philharmonic Orchestra, Neeme Jarvi
CHANDOS CHAN 241-57

This is a reissue of recordings made in 2002 and 2005. Though Busoni’s orchestral works are not very familiar this dual set makes a good case for their inclusion in more orchestral programmes, particularly the shorter pieces which would sit well as openers. John Bradbury also makes a good case for the Clarinet Concerto of 1918.

Verdi: Don Carlo
Teatro Regio di Parma, Daniel Oren
DYNAMIC 37776

This recording was made in October 2016, the production directed by Cesare Lievi. It is remarkably straight-forward – not to say traditional – in its use of sets and costumes and will therefore appeal to those who like to simply be able to relax and enjoy the drama as it unfolds, without having to worry about why the cast are doing strange things. It is equally well sung throughout and Daniel Oren in the pit holds his forces together with skill.

Bruckner: Symphony No 3
Staatskapelle Dresden, Christian Thielemann
UNITEL 740808

This series is proving to be very impressive and is maintaining its impact as Christian Thielemann moves back to the Third Symphony. With glowing wind and mastery of long, unfolding passages may I respectfully suggest you listen to this with the volume turned up to the gain the impact you would in the concert hall. This is not a DVD for a portable system!

Mahler: Symphony No9
BR KLASSIK 900151
Beethoven: Symphony No9
BR KLASSIK 900156
Bayerischen Rundfunk, Mariss Jansons

These are both fine recordings and both come from live performances. The Mahler was recorded last October in Gasteig and the Beethoven is a reissue of a performance given in the Vatican in 2007. The Roman acoustic is quite resonant though it does not fudge the sound as much I had suspected it might. The Gasteig performance is alive with detail and Mariss Jansons’ familiar sensitivity to line. Both warmly recommended.

Haydn: Quartets Op 20 4-6
Chiaroscuro Quartet
BIS 2168

The Sun Quartets are among the most challenging to performers if not to listeners – who simply lap up their beauty. The notes give a detailed analysis of this complexity and take us through the deeply introspective nature of much of the writing. This is finely mirrored in the playing of the Chiaroscuro Quartet and make the recording well worth revisiting.

Brahms: Sonatas for cello & piano Opp 38 & 99
Schumann: Funf Stucke im Volkston
Robin Michael, cello; Daniel Tong, piano
RESONUS RES10188

I wish I could feel more enthusiastic about this recording. It is certainly well played and I enjoyed some of the Schumann pieces, but the Brahms seems to me to be worth but a little dull. A pity given the obvious delight the performers have in the scores.

 

All Saints Hastings Organ Concerts 2017

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Concerts this summer on the 1878 Father Willis Organ

All concerts Mondays at 7.30pm

10 July                   David Humphreys, Peterborough Cathedral

17 July                   Peter Wright, Southwark Cathedral

24 July                   Scott Farrell, Rochester Cathedral

31 July                   Matthew Jorysz, Westminster Abbey

7 August              Tim Ravalde, Chichester Cathedral

14 August            Jonathan Allsopp, Westminster Cathedral

21 August            Peter King, Bath Abbey

28 August            Gordon Stewart

Tickets £10 on the door

Refreshments available at all events

Opera Holland Park: Kat’a Kabanova

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Opera Holland Park, July 2017

This concise, passionate piece comes with echoes of both Chekhov and Ibsen – somewhere between The Seagull and A Doll’s House. Based on a mid-nineteenth century Russian play and inspired by Janacek’s late flowering love for a much younger woman, it is written with mature, if not always subtle, musical skill – that fortissimo timpani roll at the moment of sexual ecstasy for instance –  and, in this production, conductor Sian Edwards ensures that every nuance is brought out.

As always at Opera Holland Park the playing area is so wide that it’s almost transverse theatre except that the audience is all on one side. Designer Yannis Thavoris has used it pragmatically, with a pseudo river, complete with the ubiquitous reeds, winding across the space and a semi circular mini stage to represent indoors in various forms – I won’t dwell on the fact that in its first incarnation the latter reminded me of a trampoline guard. It was effective thereafter.

Kat’a (Julia Sporsen) is a married woman with an unexciting husband (Nicky Spence) and an appalling mother-in-law (Anne Mason). In her husband’s absence she falls in love with Boris (Peter Hoare) and of course – this is opera – it can’t end happily.

Sporsen and Hoare work pleasingly together and each brings out the raw longing, regret, guilt and all the rest of it with some impressive solo singing and duet work. The symbolic flying movement as they lift all four of their arms to create a sense of togetherness (with a nod at the old slang implications of “flying”) underpins the singing rather cleverly too. Amongst the supporting roles Paul Curievici as Kudrjas stands out as does Clare Presland’s Varvara.

The chorus is a strange beast in this production though. The score gives them very little singing but, since they have to be in the building, director Oliver Fuchs uses them a lot in other ways to provide a sense of bustling crowd scenes, people walking by the river or observing the action. The trouble is that there are 32 of them and the lay out of OHP’s stage means that it takes a long time to get that number of people on and into position for what are often very short scenes – the whole laborious concept is far too fussy. Full marks, thought, for their beautiful, elegant Downton Abbey-esque costumes – in brown, terracotta, amber, burgundy and orange; like warm old bricks.

Kat’a Kabanova doesn’t  seem to get as many outings these days as Cunning Little Vixen or Jenufa and that’s a pity because it’s an interesting piece worth exploring. Well done Opera Holland Park for the usual imaginative programming.