Vocal & Choral
CD and Other Review

Review: Pierre de la Rue (The Brabant Ensemble/Rice)

Measuring fame is always a difficult proposition. Pierre de la Rue (c. 1452-1518) died a wealthy man, much of his relatively prolific output has survived and he has earned a place in the history books as the most famous composer of his generation not to have worked in Italy. Yet, for all this, he is largely forgotten today. Thankfully, enthusiasts such as Stephen Rice and his Brabant Ensemble are doing a sterling job in plugging the gaps in his discography. Missa Nuncqua Fue Pena Mayor, the earlier of two Masses on this disc is not the most promising place to start, however. While there are some variations in texture and rhythm, it is a rather plain four-part setting. Despite an empathetic approach to text by the singers, the music itself comes across as rather academic. (Perhaps it would have helped to hear the song on which it is based first.) The later Missa Inviolata is a much more interesting and accomplished affair with flashes of rhythmic brilliance and interesting text setting, still within the confines of four parts. Recalling the style of Josquin, Salve Regina VI effectively varies combinations of voices to make the final four-part section of the motet…

February 23, 2017
Vocal & Choral
CD and Other Review

Review: Dolce Vita (Jonas Kaufmann)

I wish I could offer readers a little more than an echo of other commentators when it comes to this marvellous singer; he is simply remarkable, but in Neapolitan song, I’m not so sure. Having recently reviewed Roberto Alagna dishing out this mildly attractive repertoire in concert, I find I am a little over Neapolitan song, which is a bit unfair on Herr Kaufmann. The selection opens with the operatic Caruso, Lucio Dalla’s tribute to the great tenor. Kaufman sings it with ringing conviction. In fact he sings everything with ringing conviction, which in this repertoire leads to dullness. It was a relief to come to the better songs. Parlami d’Amore Mariù, Torna a Surriento and the famous Volare. He also tosses off the delightful Voglio Vivere Così with aplomb. He’s certainly better in more sensitive items such as Catari and Con Te Partirò. Kaufmann seems more at ease in this part of the repertoire. Even so, he does not sing these songs any better than do Roberto Alagna or Juan Diego Flórez. Frankly, some of the music is thin and pompous – “All hat and no cattle,” as the Americans say – and Un Amore Così… Continue reading Get…

February 23, 2017