{"id":6027,"date":"2020-04-13T16:14:35","date_gmt":"2020-04-13T15:14:35","guid":{"rendered":"http:\/\/www.larkreviews.co.uk\/?p=6027"},"modified":"2020-04-13T16:14:35","modified_gmt":"2020-04-13T15:14:35","slug":"cdsdvds-april-2020-2","status":"publish","type":"post","link":"https:\/\/www.larkreviews.wickedlemon.co.uk\/?p=6027","title":{"rendered":"CDs\/DVDs April 2020 (2)"},"content":{"rendered":"<h6><span style=\"color: #000080;\"><strong>Purcell: King Arthur<\/strong><\/span><\/h6>\n<h6><span style=\"color: #000080;\"><strong>Akademie fur Alte Musik Berlin, Rene Jacobs<\/strong><\/span><\/h6>\n<h6><span style=\"color: #000080;\"><strong>NAXOS 2.110658<\/strong><\/span><\/h6>\n<p>There are a number of very obvious difficulties with this production, the most immediate of which is the fact that it is far more play-with-music than opera. While Purcell\u2019s score is very well sung and played under Rene Jacobs, the production itself updates the story to the 1940s with Arthur as an 8 year old indulging fantasies of his father who is a dead fighter-pilot. The musical numbers are sung in English but the play text is in German with subtitles. <em>King Arthur<\/em> has never been an easy work to stage \u2013 <em>Dido<\/em> is possibly the only stage work of Purcell which stages easily today \u2013 but this production, for all its occasional felicities, never quite comes off.<\/p>\n<h6><span style=\"color: #000080;\"><strong>Verdi: Falstaff<\/strong><\/span><\/h6>\n<h6><span style=\"color: #000080;\"><strong>Teatro Real, Madrid, Danielle Rustioni<\/strong><\/span><\/h6>\n<h6><span style=\"color: #000080;\"><strong>BELAIR BAC177<\/strong><\/span><\/h6>\n<p>This production, like a number of other recent stagings, moves the action into the 1950s and then carries through with conviction. The opening scene in a cramped caf\u00e9 is brilliant in setting the seedy background for the whole work, bringing the realities of class clearly into focus at the same time as making sense of the sexual politics. Roberto de Candia is a fine and rascally Falstaff, and I particularly enjoyed Joel Prieto\u2019s Fenton, but the whole cast work well as an ensemble and their enjoyment carries sympathetically.<\/p>\n<h6><span style=\"color: #000080;\"><strong>Wagner: Die Walkure<\/strong><\/span><\/h6>\n<h6><span style=\"color: #000080;\"><strong>Bavarian Radio Symphony Orchestra, Simon Rattle<\/strong><\/span><\/h6>\n<h6><span style=\"color: #000080;\"><strong>BR KLASSIK 900177<\/strong><\/span><\/h6>\n<p>This was recorded live in Munich over a year ago but only just released. The previous <em>Das Rheingold<\/em> had assumed a fairly rapid release for the whole cycle, even if it was being built up over a number of years, but the rather lukewarm reception for that recording may lie behind the late release of the second part of the <em>Ring. <\/em>Rattle is not an obvious Wagnerian but the more romantic, lyrical score which imbues <em>Walkure <\/em>seems more to his taste and, with a very well balanced cast, this is certainly a much stronger argument for pursuing this <em>Ring. <\/em>Stuart Skelton is surely one of the finest Sigmund\u2019s around at the moment, and the first act is very impressive. \u00a0Irene Theorin is a steely Brunnhilde and James Rutherford a youthful Wotan. In all, a splendid release and one which makes me look forward to the other two operas with enthusiasm.<\/p>\n<h6><span style=\"color: #000080;\"><strong>Beethoven: the Piano Concertos<\/strong><\/span><\/h6>\n<h6><span style=\"color: #000080;\"><strong>Stephen Hough, piano; Finnish Radio Symphony Orchestra, Hannu Lintu<\/strong><\/span><\/h6>\n<h6><span style=\"color: #000080;\"><strong>HYPERION CDA68291\/3<\/strong><\/span><\/h6>\n<p>This is a pleasing set \u2013 a light, fresh approach to the concerti. I particularly enjoyed the Third and Fourth concerti which don\u2019t get quite as much coverage as the Fifth. Stephen Hough is obviously enjoying himself and this comes across with ease.<\/p>\n<h6><span style=\"color: #000080;\"><strong>Clara Schumann; Piano Trio, Fanny Mendelssohn, Piano Trio, String Quartet<\/strong><\/span><\/h6>\n<h6><span style=\"color: #000080;\"><strong>The Nash Ensemble<\/strong><\/span><\/h6>\n<h6><span style=\"color: #000080;\"><strong>HYPERION CDA68307<\/strong><\/span><\/h6>\n<p>Three works which prove to be highly contrasted. I particularly enjoyed Fanny Mendelssohn\u2019s Piano Trio which is forthright, almost aggressive in its writing, and makes an immediate impact. If the Clara Schumann is more contemplative it is also lyrically uplifting. An impressive coupling.<\/p>\n<h6><span style=\"color: #000080;\"><strong>Pergolesi: Stabat Mater<\/strong><\/span><\/h6>\n<h6><span style=\"color: #000080;\"><strong>Les Talens Lyriques, Christophe Rousset<\/strong><\/span><\/h6>\n<h6><span style=\"color: #000080;\"><strong>ALPHA CLASSICS ALPHA 449<\/strong><\/span><\/h6>\n<p>This is an engaging disc with counter-tenor Christophe Rousset particularly impressive. In addition to the more familiar <em>Stabat Mater<\/em> we also have Nicola Porpora\u2019s <em>Salve Regina<\/em> with Sandrine Piau as soloist and Leonardo Leo\u2019s <em>Beatus Vir. <\/em>\u00a0A fine combination and all the more valuable for the rarer works.<\/p>\n<h6><\/h6>\n","protected":false},"excerpt":{"rendered":"<p>Purcell: King Arthur Akademie fur Alte Musik Berlin, Rene Jacobs NAXOS 2.110658 There are a number of very obvious difficulties with this production, the most immediate of which is the fact that it is far more play-with-music than opera. While &hellip; <a href=\"https:\/\/www.larkreviews.wickedlemon.co.uk\/?p=6027\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6],"tags":[],"_links":{"self":[{"href":"https:\/\/www.larkreviews.wickedlemon.co.uk\/index.php?rest_route=\/wp\/v2\/posts\/6027"}],"collection":[{"href":"https:\/\/www.larkreviews.wickedlemon.co.uk\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.larkreviews.wickedlemon.co.uk\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.larkreviews.wickedlemon.co.uk\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.larkreviews.wickedlemon.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=6027"}],"version-history":[{"count":1,"href":"https:\/\/www.larkreviews.wickedlemon.co.uk\/index.php?rest_route=\/wp\/v2\/posts\/6027\/revisions"}],"predecessor-version":[{"id":6028,"href":"https:\/\/www.larkreviews.wickedlemon.co.uk\/index.php?rest_route=\/wp\/v2\/posts\/6027\/revisions\/6028"}],"wp:attachment":[{"href":"https:\/\/www.larkreviews.wickedlemon.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=6027"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.larkreviews.wickedlemon.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=6027"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.larkreviews.wickedlemon.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=6027"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}