Franz Schubert's rarely performed opera, more appropriately dubbed a Singspiel, Fierrabras, is heard here in a fine-sounding, well-sung 1959 Bern, Switzerland radio broadcast concert performance that features the one and only Fritz Wunderlich in the leading role. One of Myto's bestselling titles despite the lack of name recognition of nearly every other cast member, this recording of Fierrebras returns to the marketplace where its competition is slight and interest in anything Schubert is and will always remain high.

American tenor and actor Mario Lanza (1921-1959) is the featured star on this two-disc set of newly re-mastered recordings from 1940-50, encompassing a time prior, on the whole, to his becoming a famed Hollywood star. +Features a varied menu of music from the Italian, French and American operatic and stage repertoire, including previously non-published recordings and rarities such as “Hallowen Suite”, “In A Persian Garden” and more.

After the success of Aida in December 1871, and despite his enormous popularity, Verdi retired as an operatic composer. + It took the young publisher Giulio Ricordi and composer and librettist Arrigo Boito a number of years to entice him to embark on what was originally called Jago, and only later known as Otello. + Verdi retained a reverence for Shakespeare, and had already composed Macbeth. + With Otello, completed in November 1886, and triumphantly received, he created a masterpiece from a play that, as Bernard Shaw noted, had all the ingredients of an Italian opera.

The unforgettable passion and intensity that soprano Leonie Rysanek and baritone George London brought to their most famous pairing in Wagner's Der fliegende Hollander is well-represented here as well on this recording of a 1955 live performance of Tchaikovsky's Eugen Onegin, starring Ms. Rysanek as Tatyana and Mr. London as Onegin. Though already becoming less common at the time, the opera is sung in German translation rather than Russian for the Austrian audience in attendance. This historic recording has been remastered in 24bit/96kHz sound.

Including some of the most beautiful baroque Christmas music on offer, this programme makes for the perfect Christmas collection. 'This is period-instrument performance at its best', wrote American Record Guide on the CD's original release. It is re-issued here for the first time. Three popular favourites, Corelli's gorgeous concerto for Christmas Eve, an idyllic Christmas concerto by Vivaldi, and Manfredini's Concerto grosso are complemented by two little-known cantatas by Telemann and Scarlatti. Each of the Italian composers has his own voice, contrasting tremendously with the more rugged German style of Telemann. Susan Gritton is the soloist in Scarlatti's cantata, described by Classic CD as 'ravishing and ravishingly sung... worth anyone's CD token'. This is a disc of intimate Christmas music, which will make an ideal stocking filler. As Classic CD wrote at the time of the original release, 'This is a delightful addition to the Christmas market, and the careful selection of its items and superb recording ensure that, like the traditional puppy, it's not just for Christmas'.

REVIEW:

These Baroque concertos and cantatas are all associated with Christmas, although some only marginally. The Scarlatti and Telemann cantatas were written for Christmas. The Manfredini and Corelli concertos probably received their associations with Christmas because each contains a pastorale movement, shepherds’ music in 12/8 time that Italian folk tradition associated with Christmas (the “Pifa” from Handel’s Messiah is another example). The Vivaldi concerto, one of his typical string concertos, seems to have received its seasonal connection from Vivaldi’s practice of programming it at Christmas time.

All of this music is delightful to hear. Many of Fanfare’s readers will probably have one or more of these works already, especially the concertos. The two cantatas are less often encountered, especially the Telemann, from the first movement of which we get the English carol Good Christian Men Rejoice. The playing and singing are excellent in all respects. Susan Gritton makes a major contribution in the solos of the Scarlatti cantata. Members of Collegium 90’s choir are equally good as soloists in the Telemann. Presiding over all, Simon Standage directs lively performances that respect the score and never stray into extremes of tempo.

This collection was issued 10 years ago under the title “Per la notte di natale.” In this reissue, Chandos provides full notes along with texts and translations, for which I commend them. Anyone looking for an enjoyable collection of Baroque music associated with Christmas need look no further.

-- Fanfare

REVIEWS:

"All Fidelio and Beethoven fans will need this."

As most opera lovers know, Beethoven toiled greatly over his sole opera which was premiered in 1805 and revised in 1806--and then finally again in 1814, in the version that is now famous and beloved. The recording under consideration here is of the first version; this is the third time it has been recorded commercially.

Listening to this version...is an ear-opener: much music was eventually used in the familiar 1814 version, but even within those many pages there are small alterations everywhere and they're great fun to spot.

The performance is excellent, indeed marginally better than [the recording by John Eliot] Gardiner. It's as tightly led in exciting passages but Bertrand de Billy also captures some rapturous stillness and warmth in "Mir ist so wunderbar" and elsewhere, while Gardiner seems a bit clinical. De Billy also has slightly better singers. Camilla Nyland's sound is grander than Hillevi Martinpelto, and her reading of the text is deeper; Kim Begley and Kurt Streit are vocally both fine, but Streit's sweetness and goodness make a better case for Florestan. Peter Rose's understated Rocco is never mugged, and while I prefer a heavier voice than Gerd Gochowski's as Pizarro, his ease with the vocal line is a pleasure to hear. Dietmar Kerschbaum's Jaquino never cloys and Brigitte Geller's Marzelline is beautifully sung. De Billy gets thrilling playing from the Vienna Radio Symphony--the scoring in this version of the opera is very horn-heavy and generally heftier than the 1814--and I have a preference for ORF's non-period instruments here. The Arnold Schoenberg Choir sings with accuracy and feeling. All Fidelio and Beethoven fans will need this.

-- ClassicsToday.com

Schoenberg' polyphonic tone poem Pelleas und Melisande is often compared to Debussy' opera based on the same text by Maurice Maeterlinck. According to the composer, "The first performance, 1905, in Vienna, under my own direction, provoked riots amo.