Norman Stinchcombe reviews the latest classical CD releases
Donizetti ‘Songs’ Volumes 3 & 4: Spyres, Lemieux, Rizzi, Zappa (Opera Rara 2 CDs available separately) ★★★★★
Last year the enterprising Opera Rara label released the first two discs in a planned eight volume survey of Donizetti’s songs, around 200 of them, many of which have not been heard in decades. The project is masterminded by Opera Rara’s Repertoire Consultant Roger Parker who has scoured musical archives in Europa and as far away as Australia searching for the opera composer’s solo songs. The first two volumes with tenor Lawrence Brownlee and baritone Nicola Alaimo, both accompanied on piano by conductor Carlo Rizzi, were outstanding. Now come Volumes 3 and 4 with American singer Michael Spyres, accompanied by Rizzi, and Canadian Marie-Nicole Lemieux, accompanied by Giulio Zappa. The big question is has Opera Rara succeeded again? Emphatically ‘Yes’. These two singers are very special, in part because of the nature of their flexible wide-ranging voices. Spyres is often described as a “baritenor” with the ringing top notes necessary for the bel canto repertoire, but with extra baritonal lower octave heft. Lemieux can operate in mezzo-soprano territory but also has the low notes of a true contralto: no wonder that she excels in roles once taken by the great Marilyn Horne. This means that there’s nothing arising in these songs that the two can’t handle consummately.
Volume 3 focuses on Donizetti’s songs in French, 17 out of 18, and anyone who has heard Spyres singing the title role in Berlioz’ ‘La Damnation de Faust’ or the song cycle ‘Les Nuits d'ete’ will know of his prowess in diction and elegant Gallic style. Spyres can play the lachrymose lover or spurned swain without being maudlin, as in ‘Le Crépuscule’, where the beloved’s door never opens, or the lament of ‘Le Petit Joueur de harpe’, with Sally Pryce’s harp accompaniment. The great discovery here is ‘La Dernière Nuit d’un Novice’, at twelve minutes more operatic scena than song, a dark night of the soul as a young religious novice on the eve of taking his sacred vows is tempted by a (possibly satanic) voice. Spyres’ Faustian musical pedigree is used to good effect in this miniature spiritual drama. Volume 4 has 21 French and Italian songs and Lemieux, who in the opera house plays dramatic, tragic and serious roles, shows how effective she can be in lighter repertoire too, many of the songs giving her the chance to reveal an arch sense of humour and a smile in her voice. But the disc’s highlight is a dramatic one and, like the Spyres disc, also concerns a novice, 'Quand je vis que j'etais trahie’. Lemieux brings operatic intensity to the young woman’s romantic betrayal and the use of the harmonium, played by Edward Batting adds to the religious atmosphere with Giulio Zappa powerful piano emphasizing the drama. You can sample the track on YouTube – Lemieux is absolutely sensational. Opera Rara’s CD presentation, booklets containing essays, full texts and translations plus notes on the individual songs, are luxurious and complete two perfect musical packages.
Shostakovich Symphony No.11 ‘The Year 1905’: London Symphony Orchestra / Noseda (LSO Live CD & SACD) ★★★★
It was once the fashion to dismiss this symphony as either Communist Party propaganda or the soundtrack for an unmade film with pretensions above its station. It’s neither of course. Shostakovich played the political game while still being subversive in his music. The symphony’s programme overtly deals with the murderous crushing of a peaceful demonstration by Czarist troops but it was composed a year after Soviet troops had done the same to those taking part in the 1956 Hungarian uprising. The second movement’s furious musical onslaught – the LSO’s brass and timpani stupendously vehement – could be the tanks rolling into Budapest. This is the tenth release in conductor Gianandrea Noseda’s Shostakovich symphony cycle with the LSO and maintains its high standards. The opening Adagio ‘The Palace Square’ is tense with expectation, the LSO’s strings gentle and eerie as early morning mist. After the brutal cavalry charge the succeeding ‘In Memoriam’ lament is very moving. The recording has a suitably wide dynamic range needed to capture Shostakovich’s vivid musical descriptions. Anyone doubting the symphony’s credentials should give this outstanding disc a listen.
Beethoven, Liszt: Zhang Haochen (Bis CD & SACD) ★★★★
Every music lover has their Tardis fantasy of going back in time to see their musical idols in concert or the premiere of a great work. On my list is an 1836 recital at the Salle Érard in Paris when Beethoven’s ‘Hammerklavier’ – the Everest of piano sonatas – received its first public performance. The soloist was Franz Liszt, the greatest player of his, and every other, era. Berlioz was there to write a review. What an occasion. Perhaps Zhang Haochen’s latest disc was inspired by this event for it pairs Beethoven’s No. 29 Op.106 with another epic sonata, Liszt’s in B minor, his only contribution to the genre. It takes either enormous hubris or chutzpah to tackle both on one CD but the Chinese pianist pulls it off. After his stunning 2023 recording of Liszt’s ‘Études d’exécution transcendante’ his ability to traverse the Sonata’s imaginative landscape could never be doubted and his dexterity, subtle fingerwork and enormous dynamic range again in evidence. Imagination too, Liszt’s Faustian diablerie and the existentially bleak ending are all captured. I’m less sure about his ‘Hammerklavier’. Technically impressive of course but the philosophical depths, weight and gravitas aren’t captured as they are in classic recordings by Arrau and Gilels. Bis’s recording quality is top notch.
Falla: Iruzun, Richmond, Ulster Orchestra / van Steen (Somm Recordings CD) ★★★★ Which composer connects ballet, music and the impresario Sergei Diaghilev? The answer will almost certainly be “Stravinsky” and the trio of masterpieces that resulted. Yet there’s a wonderfully vibrant, funny and scintillating ballet score the obvious answer overlooks – Manuel de Falla’s rollocking ‘El sombrero de tres pico’ (The Three-Cornered Hat) the spectacular success of its London production enhanced by Picasso’s sets and costume designs. The score is saturated with traditional Spanish folk dances and the Ulster Orchestra, under Jac van Steen, presents it vividly, with crisp rhythms and lots of flair. The popular ‘Miller’s Dance’ and the exuberant ‘Final Dance’ are irresistible. The Brazilian pianist Clélia Iruzun has recorded two concerto discs with van Steen for Somm and she is featured in Falla’s evocative ‘Nights in the Gardens of Spain’, one can almost feel the scented evening breezes. The mezzo-soprano Sarah Richmond brings wit and a warm tone to Berio’s orchestration of Falla’s ‘Seven Spanish Folk Songs’. The production captures the Ulster Hall’s expansive acoustic and the booklet’s notes, text and translations enhance this enjoyable disc.
Handel ‘Lotario’: Lombardi Mazzulli, Vistoli, Bonitatibus, K. Adam, Tomkiewicz, Ki-Hyun Park, Handel Festival Orchestra Halle / Cremonesi (Naxos 2 CDs) ★★★
There’s some fine singing and excellent orchestral work in this live recording of Handel’s opera based (very loosely) on the life of Holy Roman Empress Adelaide of Italy. It was premiered in London in 1729 to a tepid reception for its ten performances and Handel cannibalized the score for use elsewhere. The soprano Francesca Lombardi Mazzulli is a suitably heroic Adelaide besieged in a fortress by the villainous Berengario (Krystian Adam) and his equally villainous wife Matilde – the formidable show-stealing mezzo-soprano Anna Bonitatibus. Coming to the rescue is the German king Lotario (Carlo Vistali). Handel was subject to fashion of his times and that meant star castrati. To my ears Vistali’s countertenor doesn’t sound heroic in the least. Berengario's son Idelberto was originally a trouser role, for contralto, so why is it sung by another countertenor? Conductor Attilio Cremonesi gets some spirited playing from his original instrument band. Let’s be honest though, this is third rate Handel and one for committed enthusiasts only.