Favorite vocal recitals on CD or DVD

[Pohjolas Daughter]

Of Diana Damrau? No, though I haven't heard that many. I remember a friend directing to me to a disc of Strauss Lieder she made, but I didn't like that either.

O.k., thanks!

PD

[ritter]

First listen to this recital of Rossini arias (from Tancredi, Otello, Semiramide, Maometto II, The Barber of Seville, and La Cenerantola), with the wonderful Lucia Valentini Terrani, under the baton of Alberto Zedda.



I have long admired Valentini Terrani, and have almost all her complete opera recordings in my collection (works by Rossini, Haydn and Verdi). Listening to her in this recital, I am reminded why I like her so much: such a warm and expressive tone, and a complete mastery of the coloratura requirements of Rossini's vocal writing.

It's hard for me to choose in this repertoire between Berganza and Valentini Terrani. Luckily, I don't have to choose. TBH, although I admit she undoubtedly is a great artist, I don't enjoy Marilyn Horne that much...

In any case, the recital I'm listening to is fantastic, and highly recommended!

[Tsaraslondon]

Schubert's Winterreise in an arrangement for two accordions, baritone and choir. I didn't expect to enjoy this as much as I did.

Schubert: Winterreise (Genuin) - MusicWeb International

[Florestan]

This is an exceptionally sung, played and recorded album, all forces involved at the top of the game. Highly recommended.

Two rave reviews which imo are fully deserved:

https://musicwebinternational.com/2023/01/gaetano-donizetti-signor-gaetano-pentatone/

https://www.gramophone.co.uk/review/javier-camarena-signor-gaetano

[Tsaraslondon]

Mixed feelings about this new recital by Sandrine Piau.

My full review on Musicweb International.

[Florestan]

Rockwell Blake, though not French, can certainly sing in French and this selection of arias from  French operas is a delight from the beginning to the end. In turns heroic, tender, comic or melancholy, Blake's voice is always in top form, a feast for the ears. Clear diction, intelligent phrasing and outstanding vocal musicality are on offer here, supported by sympathetic and repertoire-friendly orchestral accompaniment and conducting. Unmissable.

[Florestan]

Not at all a favorite, rather an example of how not to do something.



This recording is proof that cpo does not always meet their own standards. 

The concept is an interesting one. The arias are selected from the scores in the library of the joint archives of the Turinese Accademia Filarmonica and Societa del Whist (the latter founded by Camillo Benso, Count of Cavour), operas which were performed in one of the two main opera houses, Teatro Regio and Teatro Carignano. Such luminaries as Paisiello, Galuppi, Piccini, Monsigny and Gretry are featured, together with a few unknwon others. In principle, this should be a delight.

Well, it is not, for several reasons.

First, the "orchestra". I very much doubt that the ones at Regio or Carignano consisted only of two violins, a viola, a cello, a double bass, a flute and a harpsichord --- which is all we have  here. Also, I very much doubt that the operas in question were scored for such limited forces. Indeed, checking for instance the score of Galuppi's Il filosofo de campagna, of which two arias are offered, one sees that it was scored for first violins, second violins, cellos, basses, two oboes and two horns. (NB, no flutes). The result is that what are supposed to be operatic arias sound like cantate da camera and this completely change their character.

Second, the sound. For whatever incomprehensible reason, the engineer(s) decided to have it split in three clearly distinct channels: left, the two violins playing in unison; center, the voice; right, the continuo (harpsichord and cello), and to record all of these channels at exactly the same level of loudness, which results in the continuo being as prominent as the voice, which is annoying in the highest degree. Well, you may ask, and the viola, the double bass and the flute, what channel are they on? I don't know the answer to this question because not even one second have I heard them.

Third, the programme. All arias are on the fast side tempo-wise which, given the drawbacks I just mentioned, results in aural fatigue setting in rather quickly.

Fourth, the voice. The French soprano's Italian diction is not perfect, to say the least, and the singing is anyway drowned in the continuous buzz of the continuo (pun) and the two violins playing in unison. There is no question of understanding more than half of what is being sung. The things do not improve much in the two French arias.

Bottom line, my high expectations about this disc were not met. If not quite a plain dud, it's certainly misjudged and misrecorded --- perhaps the least enjoyable cpo recording I've ever heard so far.

[Tsaraslondon]

A more than promising recording debut from two recent competition winners. Worth a listen.

Schubert: Lieder. Love's Lasting Power (Delphian) - MusicWeb International

[ritter]

From the recent competition winners @Tsaraslondon  btought to our attention in his post above, we move back in time, to a soprano who retired from the stage 70 years ago...



Mafalda Favero had a very distinguished career in the second quarter of the 20th century, based mainly in Italy (but with guest appearances in London, the US and Argentina in the 1930s and early 1940s). She had an incisive, clear-toned voice, which could produce some very expressive results. As can be seen from the back cover reproduced above,  she had a wide and Aries repertoire (although, truth be said, she sang everything in a similar, post-verismo way).

The highlight of the recording are IMHO the two Mascagni pieces, "Flammen, perdonami" from Lodoletta and, most particularly, the "Cherry Duet" from L'amico Fritz with Tito Schipa (a recording for the ages, if you like this repertoire).

[Florestan]

the "Cherry Duet" from L'amico Fritz with Tito Schipa (a recording for the ages

Indeed.

[Tsaraslondon]

Oh dear. oh dear! I don't like giving bad reviews, but there are times I wonder how a disc ever came to be released.

Romantic Songs - So tief im Abendrot (Hänssler Classic) - MusicWeb International

[Tsaraslondon]

A disc to be enjoyed by all but the most curmudgeonly.

Sir Bryn Terfel (bass-baritone) Sea Songs (Deutsche Grammophon) - MusicWeb International

[Tsaraslondon]

An interesting recital from a delightful young soprano.

In Relations – Eva Zalenga and Doriana Tchakarova

[Florestan]

Messiaen: Chronochromie

Wrong thread. 

[steve ridgway]

Wrong thread. 

[knight66]

Michael Spyres produces interesting recitals. His latest one, In the Shadows, seems to be predicting the direction of his career. It moves chronologically from Mehul through some obscure but very worthwhile repertoire to Wagner who was four when Mehul died. Spyres can sing long mellifluous lines, he would still be a gift to Mozart's music. But he can also manage the flexibility needed by Rossini and the heft for Beethoven's Florestan. He uses words intelligently conveying character and emotion, lovely shadings in the Beethoven which is rarely sung with such subtlety. He will be singing Sigmund, but on this disc only goes as far as Die Feen, Rienzi and Lohengrin.

The orchestral sound in luminous, original instruments of Les Talens Lyriques under Christophe Rousset. You certainly get your money's worth, the disc lasts 85 minutes.

Knight

[Tsaraslondon]

Late recordings by the great Elisabeth Schumann prove to be something of a disappointment.

https://musicwebinternational.com/2024/05/elisabeth-schumann-soprano-elisabeth-schumanns-swan-song-parnassus/

[Roasted Swan]

Cross posted from the new releases thread - just stunning;

A stunning new release by coloratura soprano Erin Morley.  She has a remarkable voice - flexible, beautiful and with an amazing range - comfortable up to an E 2 octaves+ above middle C.  But even more remarkable perhaps is the programme.  When did you last see Saint-Saens, Berg, Milhaud, Rachmaninov, Zemlinsky, Brahms, Sullivan and Ivor Novello(!) on the same recital programme - and it works beautifully.  Big big cheer for Ms Morley!!

[Pohjolas Daughter]

Cross posted from the new releases thread - just stunning;

A stunning new release by coloratura soprano Erin Morley.  She has a remarkable voice - flexible, beautiful and with an amazing range - comfortable up to an E 2 octaves+ above middle C.  But even more remarkable perhaps is the programme.  When did you last see Saint-Saens, Berg, Milhaud, Rachmaninov, Zemlinsky, Brahms, Sullivan and Ivor Novello(!) on the same recital programme - and it works beautifully.  Big big cheer for Ms Morley!!

Is Gerald Martin Moore any relation to the well-known pianist Gerald Moore?

PD

[Tsaraslondon]

Is Gerald Martin Moore any relation to the well-known pianist Gerald Moore?

PD

I'm fairly sure he isn't. I seem to have a recollection of meeting him a couple of times and I'm sure he said he was no relation to the older Gerald Moore.