Benedict Andrews’ long-awaited, controversial production is a match made in heaven. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

It seems hard to countenance today but in 1941 it was possible for a man to pass into legend who was not only a composer and the highest-paid musician of his day but also the Prime Minister of his country. The country in question was Poland; the man: Ignacy Jan Paderewski. As a tribute to his charismatic genius, boosey and Hawkes commissioned an anthology from 17 of the leading contemporary composers, which forms the starting point for this fascinating CD. The line-up of the great and the good forms a curious state-of-the-nation snapshot of music in the midst of WWII, for all of the composers were resident in North America at the time – some unable to return to their homelands. Represented here with distinction we find Bartók (cheating with the rehashed Three Hungarian Folk-Tunes), Milhaud, Castelnuovo-Tedesco (a charming mazurka), Goossens (a clever Homage based on Chopin’s C-minor Prelude), Martinu (another tangy mazurka) and even Britten, although the latter misunderstood the commission and composed a melancholy piece for two pianos. It’s good to see Australian-born Arthur Benjamin contributing an impressive, wistful Elegiac Mazurka. My personal favourite among many unknown gems was Stojowski’s delicate Cradle Song. The excellent british… Continue reading…

Interesting historical fact: In 1825, Johann Schultz and the Gewandhaus Orchestra presented the very first complete cycle of the Beethoven symphonies, a tradition followed by Schultz’s Leipzig successors which have included luminaries such as Mendelssohn, Furtwängler and Masur. Thus, with this new cycle under maestro Riccardo Chailly on Decca, it is fair to say that these works are pretty much “in the blood”. In fact, to sum up this beautifully presented 5-CD set, it is a rather brilliant fusion of the old and the new. The traditional element is immediately evident in the sound. The Leipzig strings offer a rich, beefy timbre while the brass is bright and punchy, though never vulgar. All of this is captured in a state-of-the-art recording of tremendous depth. The new is represented in the playing style – strings eschewing unnecessary vibrato, delicate woodwind – but especially in the tempi. Chailly observes Beethoven’s markings to the letter so we have some very fast movements indeed. The beauty is that the orchestra is so fleet of foot that detail is seldom sacrificed in the interests of speed. These unmannered readings allow Beethoven to speak for himself in exceptional versions of the Second, Third, Eighth… Continue reading…

One of the most ravishing visual and theatrical feasts to be seen on our stages for some time. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

It’s a brave man who steps into the shoes recently vacated by “Big Lucy” and certainly no one could accuse Vittorio Grigolo of timidity. For his second Sony album, the former Sistine Chapel choirboy with the matinee idol looks has nailed his colours firmly to the mast with a selection of popular arias and Italian song. In his sleeve note Grigolo cites Gigli’s influence but also, tellingly, popular tenor Claudio Villa. So how does it stack up? First off, the opera: Grigolo certainly has all the notes. He also has a fast, but not intrusive vibrato. My two quibbles concern a tendency to be below the note at medium volume and another to scoop up to notes in the upper part of his voice. Listen to his La Donna E Mobile for an example of what I mean. This is a pity as he is a good vocal actor and he tops it off with a terrific bravura high B. Elsewhere he offers us a most sensitive Lamento Di Federico from Cilea’s L’Arlesiana, proving that with a little control he can manage any vocal waywardness. Where this CD really takes off, though, is with the “popular”… Continue reading Get unlimited…

Haydn’s much-feted sojourn in London in 1791 was the occasion for the writing of his final opera, based on Ovid’s treatment of the Orpheus myth. Alas, operatic politics at the Haymarket meant that the first staging had to wait until 1951 with no less a leading lady than Maria Callas. Since then, revivals have been patchy so we must thank Sydney-based Pinchgut Opera for this live recording. Antony Walker and the excellent Orchestra of the Antipodes give the best reading of the score since Doráti. Dramatic pacing is spot on with sprightly tempi and fine instrumental contributions to Haydn’s ambitious orchestration, while Cantillation offer characterful singing. Elena Xanthoudakis has a light, pretty voice, able to cope with the flashy coloratura in both her roles – the Sybil’s showcase aria rightly brings the house down. It’s a pity that in her lower register she falls short of her recorded rival, Bartoli. Derek Welton offers fine support as her father, Creonte; his vengeance aria is particularly effective. Only the fluttery tenor of Andrew Goodwin lets the side down, struggling with coloratura and lacking power low in the voice. The CD also misses a certain depth, perhaps… Continue reading Get unlimited digital access from…

Despite its rather bizarre Scottish setting, Ariodante is one of Handel’s more convincing opera seria with a plot lifted from Ariosto’s Orlando Furioso. No magic here, no cross-dressing – just a highly effective tale of love, jealousy and betrayal. As a result it has held its own on the stage and there are fine recordings against which to measure this newcomer. Alan Curtis has had a long, perhaps hit-and-miss career championing lesser-known Handel, but in this case I am pleased to announce a palpable hit. Il Complesso Barocco is in excellent form with vigorous but flexible tempi and ravishing orchestral colour. And this recording is blessed with no less than three quite perfect female voices. Heading the list is probably the greatest Handel mezzo of today: Joyce DiDonato in superlative voice, thrilling in attack and responsive to text. Her great Act 2 aria, Scherza infida, is utterly riveting and most moving. The other cast members are not overshadowed in the slightest. Ginevra is given an intense and elegant reading by the remarkable Karina Gauvin, bringing a refreshing depth to her character, while the insinuating Polinesso is sung with great panache by silky-toned contralto Marie-Nicole Lemieux. There are excellent… Continue reading…

So what was the value of the live orchestra? Incalculable

Anyone familiar with Schubert’s murderous Die Nonne (The Nun) or Mendelssohn’s frenzied Hexenlied will know the extremes to which a 19th-century composer might go in order to send shivers up the collective spines of his audience with a ghoulish musical yarn. But if an hour of such fare fills you with trepidation, fear not, for with Canadian baritone Gerald Finley and pianist Julius Drake you will be in very safe hands. This is a brilliantly constructed program of tales told through poetry and music, ranging from blockbusters like Erlkönig, a most deeply felt Lost Chord and ending with a razor-sharp Cole Porter ballad about a social-climbing oyster who goes down the wrong way with inevitable results. Finley is clearly a singer at the very top of his game – the voice always used with intelligence; full, resonant and flexible. I would be hard pressed to think of a rival today who could finesse these songs with such grace, nuance and sheer vocal acting. Drake is in his element as well, breathing fire or exuding pathos in turn.  Standouts include a hypnotic rendition of Edward, Loewe’s tale of patricide revealed, as well as a chilling Der Feuerreiter – Wolf’s ballad of… Continue reading Get unlimited…

In this concertante piece, banjo and accordion serve as continuo instruments but with plenty of soloistic flourishes.