Diana Damrau MEYERBEER Grand Opera

There’s a great deal to admire in this release, the realisation of a long cherished idea for Diana Damrau. It’s meticulously sung, well researched and beautifully presented. And don’t be fooled by the ‘grand opera’ title: it’s not just a matter of works in the spectacular genre with which Meyerbeer is most closely associated. There’s repertoire in German and Italian as well as from French opéras both grands and comiques, plus plenty of music from before the composer conquered Paris, going back as far as the singspiel Alimelek, oder Die beiden Kalifen (1814).

Damrau’s own enthusiastic note in the booklet emphasises the variety that the programme demonstrates. And, to a certain extent, we hear that as we run the gamut from charming simplicity in the German works, Rossinian fireworks in the Italian ones to, well, Meyerbeerian fireworks in the French.

But having a whole disc of soprano arias by a composer whose major concern never seems to have been three-dimensional characterisation also seems to undermine the very point Damrau is trying to make. A third of the arias feature extensive flute obliggato, for example, others clarinet – or both. Perky coloratura, dispatched with cool aplomb by Damrau, is a standard device. Meyerbeer could certainly string notes (and lots of them) together fluently, but he struggled to hit upon truly memorable melodies.

There’s still plenty of originality, though. Take the mournful, heartfelt cor anglais solo in Isabelle’s ‘Robert, toi que j’aime’, which looks forward to Berlioz’s ‘D’amour l’ardente flamme’ (while also bearing a less fortunate melodic similarity to Monsieur Triquet’s ditty in Eugene Onegin) – and Damrau rises to some exciting drama in its final moments. She’s also outstanding in Palmide’s ‘Con qual gioia’ (from Il crociato), which feels like three virtuoso arias for the price of one, and the extensive vocal fluff of Marguerite’s ‘Ô beau pays de la Touraine’ (Les Huguenots).

The soprano’s technique remains unruffled regardless of what challenges are thrown her way, a tendency to sag on trills notwithstanding. But the voice is not big on colouristic variety and only hints at steely determination rarely, emphasising the somewhat passive, generic nature of many of the women represented here. Sample someone like Natalie Dessay in the ubiquitous ‘Ombre légère’ to hear what more can be done. The scholarly and detailed booklet essay might have helped, too, had it furnished us with dramatic as well as musicological context for the music.

The Lyon Opera forces under Emmanuel Villaume offer fluent, lively support (I hope the flautist got paid overtime), as do the other singers making cameos. This is certainly a useful, generously filled and well-recorded compendium, better for dipping into rather than consuming in one sitting. Whether it will do anything to change your mind on Meyerbeer himself is another matter. (Hugo Shirley / Gramophone)

Sophie Bevan / The Mozartists / Ian Page PERFIDO!

Launched in 2017 by conductor Ian Page as an extension of his internationally renowned period ensemble Classical Opera, The Mozartists release their first recording on 5 May on Signum Classics. ‘Perfido!’ is a collection of concert arias by Mozart, Haydn and Beethoven sung by soprano Sophie Bevan.

Bevan has emerged as one of the leading Mozart singers of her generation, and in recent years she has performed the roles of Ilia (Idomeneo), Susanna (Le nozze di Figaro) and Pamina (Die Zauberflöte) at the Royal Opera House, Covent Garden. She has worked with Ian Page and Classical Opera every year since 2005, and her previous recordings with the company have included ‘Blessed Spirit’ – a Gluck retrospective (Wigmore Hall Live) and roles in several of their ongoing complete cycle of Mozart operas on Signum Classics – Hyacinthus (Apollo et Hyacinthus), Der Weltgeist (Die Schuldigkeit des ersten Gebots), Sifare (Mitridate, re di Ponto) and most recently the title role in Zaide.

The programme of ‘Perfido!’ was devised by Ian Page and comprises concert arias by the three greatest composers of the classical era. It begins with Haydn’s magnificent Scena di Berenice, composed in London in 1795 for the celebrated dramatic soprano Brigida Giorgi Banti, and culminates with the three great arias composed for the famous Czech soprano Josefa Dušek – Mozart’s “Ah, lo previdi” and “Bella mia fiamma” and Beethoven’s “Ah! perfido”. Other featured arias include Mozart’s “Oh, temerario Arbace”, composed when he was just ten years old, and Beethoven’s “No, non turbati”, created as part of the composer’s studies in Vienna with Antonio Salieri.

Ian Page says:

“I have never understood why these works are not more widely known and more frequently programmed. Each one is a mini-opera in its own right, full of dramatic intensity, dynamism and exquisitely sculpted melodies that represent the composers at the height of their powers. They feel tailor-made for Sophie’s voice and artistry, and we had a very enjoyable and rewarding time making this disc.”

‘Perfido!’ follows the critically acclaimed ‘Where’er You Walk’, a programme of arias for Handel’s favourite tenor John Beard performed by Allan Clayton, recently shortlisted in the ‘Recording (Solo Recital)’ category in the 2017 International Opera Awards. The release complements Classical Opera’s ongoing recording series of the complete operas of Mozart on Signum Classics, as part of which a new recording of Il sogno di Scipione is scheduled for release in October.

Sophie Bevan studied at the Royal College of Music in London and won the Critics’ Circle award for Exceptional Young Talent in 2010, The Times Breakthrough Award at the 2012 South Bank Sky Arts Awards and the Young Singer award at the inaugural International Opera Awards in 2013. She became an Associate Artist with Classical Opera in 2007 and her appearances under the direction of Ian Page have included Mozart, Haydn, Handel, Gluck and J. C. Bach programmes at Wigmore Hall, Publio in the UK premiere of Gluck’s La clemenza di Tito, and Silvia in Mozart’s Ascanio in Alba.

Ophélie Gaillard SCHUMANN - LISZT

Schumann’s Cello Concerto was long regarded as a minor achievement; it has also been accused of treating the solo instrument unfavourably. As is often the case with the compositions of Schumann’s middle and late periods, interpreters must understand its singularity in order to bring it out. It is thanks to great performers such as the legendary cellist Pablo Casals, for whom Schumann’s Cello Concerto was “one of the finest works one could wish to hear – sublime music from beginning to end”, that this work now at last has its rightful place in the repertoire. 

Although relations between Schumann and Liszt were often clouded by Clara’s lack of understanding, and even jealousy, Liszt recognised his friend’s genius better than anyone, and at Weimar conducted scores that had not been understood when they were first performed. We do not know whether or not Liszt knew the Cello Concerto, but he was reliant on transcriptions as a source of income. 

Ophélie Gaillard has chosen five pieces for cello and piano: two were originally songs with piano accompaniment written in his youth; the other three pieces, dating from the end of Liszt’s life, show the soberness and bold language that characterise his late works. 

Although a Baroque specialist, Gaillard is also very fond of Romantic repertoire. Her recording for Ambroisie of the complete cello works of Schumann, Fauré, and later Chopin were highly acclaimed by the press, while the solo album Dreams (Aparté), made at the legendary Abbey Road Studios in London with the Royal Philharmonic Orchestra, proved to be a great public success. 

Ophélie Gaillard plays a cello by Francesco Goffriller (1737), generously loaned to her by CIC, and also an anonymous Flemish violoncello piccolo. 

São Paulo Symphony Orchestra / Marin Alsop SERGEY PROKOFIEV Symphony No.4 - The Prodigal Son

Prokofiev’s imposing Fourth Symphony and his final ballet for Sergey Dyagilev, The Prodigal Son, share common roots but are entirely distinctive in character. The vivid depictions in the ballet’s moral tale include sensual temptations, drunken debauchery, robbery and remorse. The 1947 revision of the Fourth Symphony, lengthened and enriched in orchestration by the addition of a piccolo clarinet, piano and harp, makes extended use of themes from The Prodigal Son as well as unused material. Prokofiev’s Fifth Symphony with Marin Alsop and the São Paulo Symphony Orchestra (8.573029) was described as “an outstanding achievement” by BBC Music Magazine.

Mark Feldman / Sylvie Courvoisier MUSIC FOR VIOLIN AND PIANO

The understated cover does little to indicate the intensity of the music on this recording full of exquisite virtuoso playing. Feldman's beautiful tone juxtaposed with Courvoisier's complex, rhythmic style makes for a truly astonishing body of work. Off kilter pizzicato glissandos and strumming of inner piano strings open the disc with the opening track "Smoke," and this is an excellent indication of the madness to follow. The "Kit" suite is the highlight of the disc, a tune that explodes with a fiery intensity and aggressiveness. The piece seems to spin out of control every other minute and stops on a dime at moments of greatest distress. The "Too" suite at moments sounds like a demented Tchaikovsky piece that slips into a hurricane of high dancing violin line over a bed of left hand rumblings in the piano. Both Feldman and Courvoisier compliment each other well as they play in perfect step with one another. Highly recommended. (Mark Allender)

Ginevra Petrucci / Gleb Kanasevich / Dorotea Racz / Dmitry Samogray ROBERT MUCZYNSKI Chamber Music

Robert Muczynski (1929-2010) was born in Chicago, son of a Polish and Slovak immigrant. At the age of 5 he started his piano lessons, and later studied at the DePaul University composition with Walter Knupfer and Alexander Tcherepnin.

Muczynski may safely be called the most important neoclassical composer of post-war America. His style bears influences from Bartók, Barber, Bernstein and occasional jazz elements.
This new recording contains some delightful chamber for various instruments: the flute sonata, trio for clarinet, cello & piano, the cello sonata, and duos for flute and clarinet: attractive music full of vitality and exuberant energy.
Wonderful performances by Ginevra Petrucci (flute), Dorotea Racz (cello), Gleb Kanasevich (clarinet) and Dmitry Samogray (piano), all four of them seasoned soloists and ensemble players.

Louis Sclavis / Dominique Pifarély / Vincent Courtois ASIAN FIELDS VARIATIONS

Asian Fields Variations marks the first time that clarinettist Louis Sclavis, violinist Dominique Pifarély and cellist Vincent Courtois, long-time colleagues, have recorded as a trio. All three are major figures in contemporary French creative music : this is a new group with a lot of history. Sclavis and Pifarély have played together in diverse contexts for 35 years, Sclavis and Courtois for 20 years. As one can hear on the recording, they have retained the capacity to surprise each other – and their listeners – as improvisers. Alertness and freshness are key qualities here. “We’re always drawing also on a lot of different playing experiences. And those experiences are reflected in what we write, and what we play. We’re continually bringing new things to the project, and we keep going deeper.”

If the instrumentation – clarinet, violin, cello – implies a chamber music orientation, each of the players has his own compositional signature, however, with Dominique Pifarély’s pieces being perhaps the most rigorously “written” here. The balance of composition and improvisation, Sclavis notes, was also readjusted in the course of the recording session, produced by Manfred Eicher, at Studios La Buissone in Pernes-les-Fontaines in the South of France September 2017.