Daily Archives: 11 August, 2017

August DVDs/CDs 2017 (1)

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Concert Favorites
Raymond Chenault, John-Paul Buzard organ in All Saints Episcopal Church, Atlanta, Georgia
GOTHIC G 49305-06

While very enjoyable, this double CD is not quite what one might expect. The Concert Favorites(sic) are those of the organist not necessarily the audience. As such this is a lively and often challenging collection opening with a brisk Toccata by Dutch composer Marius Monnikendam. Pieces by Guilmant and Jongen prove more familiar but there is a pleasing tendency to find modern works which are reflective rather than brash. One such is the fine Rorate Caeli by Jeanne Demessieux, a pupil of Dupre. The first cd concludes with the Salve Regina from Widor’s Second Symphony which allows Raymond Chenault to demonstrate the breadth of the organ’s registration.

The second disc opens with a bright reading of the Sortie en La Majeur by Dubois. The intensity of Langlais Incantation Pour un Jour Saint contrasts with the gentle sensitivity of Dupre’s Lamento.  It is worth noting here that the liner notes contain reproductions of a range of works of art which mirror the music – a worthwhile and thoughtful addition.

It is good to hear Cochereau’s Berceuse included before the final ecstatic Allegro Deciso from Dupre’s Evocation Poeme Symphonique.  The John-Paul Buzard organ rings well in the generous acoustic which is here recorded to allow the ambience of the building to speak.

A fine solo set and worth seeking out.

Cipriani Potter: Piano Concertos 2 & 4: Variazioni di bravura on a theme of Rossini
Howard Shelley, Tasmanian Symphony Orchestra
HYPERION CDA 68151

When one reads Cipriani Potter’s biography it is surprising that this appears to be the first recordings of these works. His influence on nineteenth century music through the RAM and his own promoted concerts should alone make his name more familiar, and the quality of the works recorded here is surely not in doubt.

The second piano concerto was completed in 1832. While very obviously a romantic work, the influence of Mozart and Beethoven are clear in the structure and clean lines. The delicacy of the Andante con motto is particularly impressive from Howard Shelley. The fourth concerto came three years later and concludes with an idiosyncratic Allegro which exemplifies the composer’s own voice lifting out of the earlier influences.

Cipriani Potter was an admirer of Rossini and the set of six variations are based on an aria from Ermione – the work listeners may have come across as its reuse in Mathilde di Shabran  is unlikely to have crossed their paths.

A delight to encounter the works and – given the large range of compositions by Cipriani Potter – let us hope others may be encouraged to explore his oeuvre more closely.

 

John Sheppard: Media Vita
Westminster Cathedral Choir, Martin Baker
HYPERION CDA 68187

It seems from the liner notes that one of the reasons John Sheppard was overlooked during the Tudor revival was that his dates were effectively unknown and that there was, therefore, nowhere to hang an anniversary! That such glorious scores should remain unknown seems unbelievable once they are encountered. The sensual slow unfolding of Media vita is captivating in its beauty, the polyphony rolling with gentle magnificence within the ample acoustic of All Hallows, Gospel Oak.

The Missa Cantate probably dates from the period of transfer between Mary and Elizabeth, and if the richness of the six-part scoring is not as overtly sensual as that of the Media vita it is equally compelling. Between these two major works comes Gaude Maria, with greater use of plainchant to progress the liturgy.

The balance of voices is exemplary and the recording is richly recommended.

 

Verdi: Il Trovatore
Macerata Opera Festival, Daniel Oren
DYNAMIC 37769

The stage for the Macerata Festival is vast, making entrances difficult given the distance across the stage. In crane shots the orchestra looks somewhat lost sitting against the centre of the stage and leaving large areas in darkness to either side. Much of this may account for the way the production either focuses on individual singers, or adds in large amounts of extraneous detail to fill out the picture. Throughout the production we encounter the figure (ghost?) of Azucena’s mother being burnt at the stake, and a decaying child who wanders through, apparently her dead son.

Crowd scenes are well handled given the size and the musical impact is strong. Casting is secure with Piero Pretti an heroic Manrico and Enkelejda Shkosa a suitably wild Azucena. Probably worth returning to musically though the production itself would not really survive many viewings.

 

Puccini: Tosca
Royal Opera House, Antonio Pappano
ARTHAUS 1099292

Dating from 2011, this is a film version of the opera by Benoit Jacquot and it is difficult to work out quite who the expected audience are. Shots move between the recording studio and a large – very large –setting with an obviously added acoustic. Additionally there are live sheep in act three though no chorus in act one. The constant shifts are disconcerting. Just as we become immersed in the action – and some fine characterisation from Ruggero Raimondi’s Scarpia – we cut back to the studio, or library shots of Rome. As such it is difficult to get fully involved, which is a pity as the musical side of the production is excellent, with Angela Gheorghiu and Roberto Alagna familiar, but none the less welcome, protagonists.

 

The Pirates of Penzance

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Opera Anywhere, Hastings Pier, Thursday 10 August 2017

I can’t recall any opera on Hastings Pier since Glyndbourne staged their first community opera here back in 1990, so an outdoor production of The Pirates of Penzance from Opera Anywhere was doubly welcome. Happily the early promised rain did not materialise and the pier was bathed in evening sunlight with magnificent views in all directions.

At first the idea that the event was to be staged on the upper deck seemed a little strange but this is only because the pier itself is so vast. The upper deck easily held an audience of 100, many of them at tables, and there was still more than enough space for the company and musicians. The other great benefit was the lack of any need for amplification. With the wood panelling behind, the singing voices carried very well and there were only a few moments when spoken words disappeared, particularly if the soloists were sitting.

There was, needless to say, no full chorus, but the intimacy of the space meant that the singers made even greater impact. This was impressively so from Major Stanley’s daughters who giggled and squealed magnificently as well as singing with precision and clarity. The bluffer pirates held their own, led by Miles Horner as a suitably grandiose Pirate King. Tristan Stock’s Frederick provided a lyric tenor lead and was genuinely moving in both his duets with Susanna Buckle‘s Mabel and the stirring act two trio with Ruth and the Pirate King.  Vanessa Woodward’s Ruth allows us to laugh at her as well as with her but she never becomes the victim she so easily can. Mike Woodward’s Major General took a little while to get into his stride but his self-importance and cunning soon shone through and one of Gilbert’s most biting creations came fully to life. Mark Horner’s Sergeant of Police was as fine as I can recall, singing the part with lovely attention to detail but always remaining fully in character. It was a treat, even if he had to put up with three very giggly officers (and in night-gowns as well!)

Accompaniment was provided by Nia Williams on the keyboard with woodwind from Nick Planas who also provided the arrangements. As with the singers, it was good to have live rather than amplified sound and Sullivan’s score came across with surprising ease.

There was to be another performance on the next evening. Let us hope that the success of this outing encourages a return – and maybe Hastings will become recognised for more than just its Pirates!