A mere century ago, Franz Schreker was mentioned in the same breath as Richard Strauss, Korngold and Berg as one of Europe’s most important opera composers. In 1938 the Nazis put paid to all that by condemning his work as “entartete” (meaning degenerate) and after the war his exotic, late Romantic style was hardly flavour of the month. Recent decades have proved kinder however, and this new CD joins a healthy catalogue of recorded works. For anyone used to the highly perfumed sexual psychodrama of Der Ferne Klang, this piece may come as a bit of a surprise. A late work, Der Schmied von Gent is set during the 16th-century Spanish occupation of Flanders and turns out to be a light-hearted folk opera. Our hero, Smee, is accused of overcharging the occupying forces and loses his business. To get it back he sells his soul to the devil and enjoys seven years of good fortune. After an act
 of kindness towards the Holy Family (who are in disguise, naturally), St Joseph grants him three wishes, enabling him to wriggle out of his enforced trip to Hell. Unable to enter Heaven either after his death, he sets up a pub outside……

A look at opera singers old and new, from Callas to Kaufmann, with more than a side glance at Shostakovich and Salieri. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Medea’s final aria, hidden by Cherubini, sees the light of day after 200 years under charcoal. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

The Australian Chamber Orchestra’s baby sister comes of age. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Nearly two million people watch Philadelphia Orchestra’s impromptu Dvořák on a grounded aircraft. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

The Universal Music Vice President with the interesting career path can see the future of classical music – and it’s digital. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

The legendary Dale Clevenger steps down after 47 years at the top of his game. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

If Jonas Kaufmann is your idea of the perfect heldentenor,
voice then Klaus Florian Vogt’s preternaturally light instrument might not be your cup of tea. Nevertheless, the other German Wagner tenor du jour has built quite a following and this is his second solo album for Sony. He includes several items also on Kaufmann’s current disc,
so a comparison is apt. Sadly it seems that Vogt holds none of the winning cards. Listen, for example, to Siegmund’s sword monologue: next to Kaufmann’s heroic tone and attention to text, Vogt’s is a pale, thin sound with little interpretive detail. His cries of “Wälse” are weak, and over in half the time of his rival’s. More lyrical items fare little better. Rienzi’s rushed prayer has awkward multiple breaths and little sense of line. The top notes are all there but delivered at low voltage and strained when required to be above forte. His Meistersinger sounds best but the tone is more that of a David than a Walther. Parsifal finds Vogt in better voice and he has some fine moments, but Tristan is a role that simply doesn’t suit him. Vogt is partnered by the excellent Jonathan Nott and his Bamberg Symphony. These are…

Soprano, who famously sang the Queen of the Night on horseback, receives the Order of Australia. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

First place in the 14th International Piano Competition goes to 26-year-old Ukrainian Vadym Kholodenko Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Four double passes to be won for August screenings of first ever ballet filmed in 3D.

Graeme Murphy’s handsome production of Puccini’s grandest opera was first recorded back 
in 1991, so why have Opera Australia chosen to revisit it? First of all, it’s an opportunity for a technological upgrade, and in this respect the DVD is a singular success. Picture quality is crystal clear, with clever use of overlays to enhance the visuals. The sound, too, is very good, every detail of Andrea Licata’s highly effective, dramatic reading of the score brought vividly to life. First honours go to American soprano Susan Foster in the title role, commanding the stage with ringing tone, immaculate diction and an insightful dramatic identification with the character. It’s a wild performance, and some might find the vibrato a trifle wayward, but she easily sails over the chorus and her emotional transformation is riveting. The other star of the show is the Australian Opera chorus who, despite Murphy’s production occasionally veering into Kismet territory, sing with unflagging power and commitment. Unfortunately, Rosario La Spina proves a fly in the ointment. His foursquare musical approach and unimaginative use of text lacks finesse and, although the top notes are all there, his hollow tone is dull. Add to this some dubious Italian vowels…