What are you listening to?

[fergus]

[Jose Echenique]

<Have you heard Xavier Sabata's recital disc on the Aparte label, Jose? Sabata was excellent in last year's recording of Handel's Alessandro under George Petrou (on Decca) and similarly rewarding, a few years ago, in a recording of Handel's Faramando under Diego Fasolis (on Virgin). In this recording for Aparte, he is powerfully accompanied by Riccardo Minasi and his ensemble, Il Pomo d'Oro. Although he concentrates on villainous roles from a selection of Handel's operas, he takes care to portray these characters with sympathy rather than resorting to cartoonish stereotypes. All in all, it is the best Handel recital disc I've heard since Bejun Mehta's superb Ombra Cara with Rene Jacobs a few years ago. On the subject of Mehta, I really hope that he will record the complete Orlando with Jacobs at some stage in the near future. There is something special, I feel, about Mehta. He lacks the virtuosic flourish of a Cencic or Jaroussky, but I find him more thoughtful and emotionally affecting in his approach to the work. I was enthralled by his Didymus in a DVD performance of Theodora under Ivor Bolton (recorded at the 2009 Salzburg Festival) - his scenes were Christine Schafer were overwhelmingly powerful - and I hope to see him record more Handel in the near future.>

Yes, I have Sabata´s recital and of course the excellent Petrou Alessandro. He is also a very fine countertenor as is Zubin Mehta´s nephew. The Theodora is glorious, as is his participation in that very strange Messiah from Vienna, and a new recording is coming soon with Jacobs conducting, but do try to hear this Fagioli offering, it´s spectacular.

[Jose Echenique]

Cecilia Bartoli has adopted venetian composer Agostino Steffani as her pet project. She has already recorded an opera arias recital and now presents his famous Stabat Mater and some motets.
Steffani went to work to Northern Germany and landed a job with the Elector of Hanover. When the Elector became George II and went to London, Steffani did not accompany him to England; but in 1724 the Academy of Ancient Music in London elected him its honorary president for life; and in return for the compliment he sent the association this Stabat Mater, and three fine madrigals.
This is not the first recording of the Stabat Mater, some years ago Gustav Leonhardt recorded it for DHM.
The problem with this new version is predictably, Cecilia Bartoli. She INSISTS in milking every word and note for all their worth, it would be excessive in an opera aria, but in a religious composition it is almost ridiculous, and worst of all she doesn´t blend well with her more properly restrained colleagues (including, what do you know, Franco Fagioli). A great pity because there´s some excellent singing and playing, but overall the old Leonhardt recording is more satisfactory.

[mcq]

Listening tonight to my favourite version of Mozart's Die Entfuhring aus dem Serail, as conducted by William Christie (and available on the Erato label).  More so than the competing versions in my collection by Gardiner, Harnoncourt and Bohm, I find this an utterly compelling emotional experience.

 Christine Schafer's Constanze is the finest I have yet heard - inconsolably wounded and damaged yet possesed of an inner steeliness - and to hear her sing this character's arias is a tremendously moving experience.  Patricia Petibon's Blonde is a sheer delight - so very full of life, vivacious, charming, ebullient, and yet so very tender as she empathises with  Constanze's troubles.  Ian Bostridge has been criticised by so critics for having a lightweight voice, but here I find his unaffected sincerity absolutely right for Belmonte, with not a trace of bombast or vulgar jealousy.  

The greatest thing about this work, as in all of Mozart's great mature operas,  is the sense of humanity that is ever present.  The range of human emotions that are elicited - from anger and rage and petty jealousy to sorrow and anguish to the untrammelled joy of a human heart fluttering free from its chains of confinement - are exquisitely portrayed by this most compassionate of composers. (This key element of compassion is expressed beautifully by Pasha Selim's closing act where he chooses to free his captives rather than to kill them mindlessly.)  A deeply affecting performance, aided immeasurably by Christie's trademark lightness and agility, this is a wonderful listening experience that is very highly recommended.

[Jose Echenique]

Listening tonight to my favourite version of Mozart's Die Entfuhring aus dem Serail, as conducted by William Christie (and available on the Erato label).  More so than the competing versions in my collection by Gardiner, Harnoncourt and Bohm, I find this an utterly compelling emotional experience.

 Christine Schafer's Constanze is the finest I have yet heard - inconsolably wounded and damaged yet possesed of an inner steeliness - and to hear her sing this character's arias is a tremendously moving experience.  Patricia Petibon's Blonde is a sheer delight - so very full of life, vivacious, charming, ebullient, and yet so very tender as she empathises with  Constanze's troubles.  Ian Bostridge has been criticised by so critics for having a lightweight voice, but here I find his unaffected sincerity absolutely right for Belmonte, with not a trace of bombast or vulgar jealousy.  

The greatest thing about this work, as in all of Mozart's great mature operas,  is the sense of humanity that is ever present.  The range of human emotions that are elicited - from anger and rage and petty jealousy to sorrow and anguish to the untrammelled joy of a human heart fluttering free from its chains of confinement - are exquisitely portrayed by this most compassionate of composers. (This key element of compassion is expressed beautifully by Pasha Selim's closing act where he chooses to free his captives rather than to kill them mindlessly.)  A deeply affecting performance, aided immeasurably by Christie's trademark lightness and agility, this is a wonderful listening experience that is very highly recommended.

I have to say I prefer Gardiner´s recording, mostly on account of his incomparable Constanze, Luba Orgonasova, who has a far more considerable voice than Schäfer. Perhaps in the ERATO recording she doesn´t sound overstretched by the role, but I heard her in the role in Salzburg and live one thought the role 1 size too big for her. No complaints about her acting though, in fact the impression I had is that she is a far better actress than singer.

[mcq]

Gardiner's version is undeniably a great one, Jose, but I have a very personal attachment to Schafer's voice (I also love her Cherubino for Harnoncourt in his excellent 2006 Le nozze di Figaro - I wish they would do some more work together).  And yes, she is a very powerful actress as well as singer. I remember you were very passionate about Orgonasova's performance for Harnoncourt in his barely-released performance of Dvorak's Stabat Mater (which will hopefully be re-released one day).

[Jose Echenique]

Gardiner's version is undeniably a great one, Jose, but I have a very personal attachment to Schafer's voice (I also love her Cherubino for Harnoncourt in his excellent 2006 Le nozze di Figaro - I wish they would do some more work together).  And yes, she is a very powerful actress as well as singer. I remember you were very passionate about Orgonasova's performance for Harnoncourt in his barely-released performance of Dvorak's Stabat Mater (which will hopefully be re-released one day).

OK, I confess: I am a die HARD fan of Luba Orgonasova. I think her voice unique, one of the wonders of the age, and fortunately I´m not alone Gardiner, Harnoncourt, Brüggen, Jansons, Whun-Chung, etc., worked extensively with her. She is the nearest we have had to Margaret Price, a large lyric voice with coloratura.
Before the Gardiner recording appeared, Margaret Price was the one soprano I thought 100% convincing as Constanze. There were the light coloraturas of course, like Edita Gruberova or Arleen Auger, but their voices were too thin in the middle and the bottom notes, Constanze has a huge range, it´s very difficult to find a voice that is equal to all it´s demands. Margaret Price sang the role in the early 70´s, both at Salzburg and Glyndebourne, unfortunately she never recorded the role complete but EMI did release a highlights record from Glyndebourne. She was...stunning.
And then came Luba Orgonasova, a voice large enough to sing Verdi´s Requiem (she is fabulous in the Gardiner recording), but with elegant and accurate coloratura.
Christine Schäfer, a lyric soprano ideal for Susanna and Zerlina has had some strange role choices. She´s been singing Gilda in Rigoletto, surely too heavy for her, and she is particularly famous in Berg´s Lulu, not my cup of tea, but I understand she is very good in that role.

[fergus]

Two concertos from the pen of Rodrigo; Concierto andaluz, a very fine concerto for four guitars, and the somewhat dissonant but lovely Concierto serenata for Harp.

[DaveF]

Symphony No.4 and the Manfred Symphony

[fergus]

Symphony No.4 and the Manfred Symphony

That is a great cycle and I particularly like the Manfred Symphony.