Day is Done

A festive concert of great voices, this Volkslied-Edition offers on 5 CDs the most famous and most beloved German folksongs, performed by well known singers like Hermann Prey, Peter Schreier, and famous choirs, especially boys choirs, such as the Dresden Kreuzchor, Thomanerchor Leipzig and the Regensburger Domspatzen. A well done edition for all friends of choir music offered for a verys special price!

• The inaugural broadcast of the Peabody and Emmy®-award winning series The Met Live in HD.
• The Magic Flute has delighted audiences of all ages for centuries. Julie Taymor’s dazzling English-language production brings one of Mozart’s greatest works to life as never before.
• James Levine leads a cast that includes Ying Huang as Pamina in her Met debut, Nathan Gunn, Matthew Polenzani, Erika Miklosa and Rene Papa.
• Taken from the December 30, 2006 live performance.
• Aspect Ratio: 1.78:1

This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.

Also available on standard DVD

Giuseppe Verdi
LA TRAVIATA
(Blu-ray Disc Version)
Violetta – Renée Fleming
Alfredo Germont – Joseph Calleja
Giorgio Germont – Thomas Hampson
Baron Douphol – Eddie Wade
Doctor Grenvil – Richard Wiegold

Royal Opera House Chorus and Orchestra
Antonio Pappano, conductor
Richard Eyre, stage director

Recorded live at the Royal Opera House, Covent Garden, London, June and July 2009.

Bonus:
- Cast gallery
- Antonio Pappano interviews Renée Fleming

Picture format: 1080i High Definition
Sound format: LPCM 2.0 / DTS 5.1
Region code: 0 (worldwide)
Menu language: English
Subtitles: English, French, German, Spanish, Italian
Running time: 135 mins
No. of Discs: 1 (Blu-ray)

R E V I E W:



VERDI La Traviata • Antonio Pappano, cond; Renée Fleming ( Violetta ); Joseph Calleja ( Alfredo ); Thomas Hampson ( Germont ); Royal Op House Ch & O • OPUS ARTE OA 1040 D (DVD); OA BD7076 D (Blu-ray: 154:00) Live: Covent Garden 6/27 & 30/2009


Back in Fanfare 34:1 I reviewed the recent DVD of La traviata with Angela Gheorghiu, Ramón Vargas, Roberto Frontali, and Lorin Maazel at La Scala. To summarize that briefly, my verdict was: excellent staging, superlative Gheorghiu, good Vargas and Maazel, hapless Frontali and comprimario singers. I also provided an extensive overview of other versions of the opera on DVD; all are flawed, but the best alternatives are the 1968 film version on VAI with Anna Moffo, Franco Bonisolli, Gino Bechi, and Giuseppe Patané; a 1972 Tokyo staging starring Renata Scotto, José Carreras, Sesto Bruscantini, and Nino Verchi, also on VAI; and the 2006 Los Angeles Opera production on Decca with Renée Fleming, Rolando Villazón, Renato Bruson, and James Conlon. Opus Arte now brings us a new version with Renée Fleming, and while it too is not without its flaws, it joins the aforementioned entries in the top rank of La traviata performances on video.


At the risk of seeming like a gaggle of geese nibbling this DVD to death, I will state up front that this version of the opera is carried by a few great strengths over multiple secondary weaknesses. The strengths are easy to state: All the principal roles are securely sung, a top-notch conductor is on the podium, and the staging is sensible. In particular, Joseph Calleja is one of the greatest Alfredos ever to record the role. While not ideally handsome and dashing in physical appearance, he has the ringing tenor voice, secure technique, heartbreaking plangency of timbre, and interpretive imagination for the ideal Alfredo. Every time he opens his mouth, you simply don’t want him to close it again. He is also an effective actor whose facial expressions, postures, and gestures harmonize with his singing.


After Calleja, however, the “yes, but” element of this review enters in for everyone and everything else, beginning with the Violetta of Renée Fleming. Doubtless she is a very good Violetta, and superior to many rivals, but I do not think she is a truly great one. Compared to her Los Angeles performance from three years earlier, her interpretation is considerably deeper but her vocal technique (particularly in “Sempre libera”) is more labored and the sound less creamy. Thankfully, she does far less of the distracting grimacing and bizarre grinning than before, though sometimes it still intrudes (someone needs to tell her to rehearse in front of a mirror). However, my greater concern is that her acting is too calculated and external to the character rather than indwelling it; she expends too much energy portraying, rather than being, Violetta. The gestures and movements all seem too self-conscious; instead of just picking up a champagne bottle, or flitting a handkerchief, or sitting down in a chair, one can almost see her thinking, “Now I’m supposed to pick up the champagne bottle,” “Now I should flit my handkerchief,” “Now I should sit down in this chair.” Again, I would prefer to emphasize the real improvement in her characterization in just three years, but this dimension is present and it does matter.


Next there is the Germont of Thomas Hampson. The good news is that he is in steady and secure voice here—not always the case recently—which is more than can be said for much of his painfully superannuated competition. The less than ideal news is that, in order to keep the voice steady, he constantly forces it so that every syllable is pushed out at a forte with a hard, unyielding tone that limits him to a single mode of expression, one of preemptive sternness. His acting and facial gestures are similarly limited and wooden; when Violetta pleads for his fatherly embrace he remains stock-still and ignores her, and displays equal unconcern for his son at “Di Provenza il mar.” In an unintentionally comic sartorial aspect, the light green piping on his brown suit unavoidably conjures up a chocolate sundae with mint drizzle icing, while his stiff posture and lumbering gait in an over-padded full-length fur coat keep bringing to mind actor Fred Gwynne (aka Herman Munster). Again, I don’t want these smaller details to override the fact that Hampson’s Germont trumps that of many lesser singers, but again they are present and do matter.


The rest can be summarized more briefly. One always expects fine Verdi conducting when Antonio Pappano is in the pit, and so it proves here; but this time he seems a bit too deferential to his singers and the performance lacks the extra frisson found in his very best interpretations, and I actually find myself preferring Maazel overall despite his occasional eccentricities. The comprimario singers are uniformly excellent to a rare degree—every one of them could easily be singing a principal role in a major opera instead—and the deft stage direction makes their momentary interactions contribute far more to the cogency of the plot that I have ever experienced before. The recorded sound and film quality are quite good, with the quality of the Blu-ray disc only marginally superior to that of the regular DVD; the camerawork is sensible if not exceptional; the costumes are of the period and (Hampson’s suit and coat excepted) attractive and elegant; the ballet sequence at Flora’s party is nicely staged.


My one other major reservation concerns the production’s sets, which are quite pedestrian. Act I is set in a round room with brown wood paneling and a single large window with blinds in the back, with a small round settee and semicircular padded backless benches around it—no banquet table, chandelier, or anything else to indicate either elegance or the intended significance of Violetta in the round. While not the awful Willy Decker sofa and clock, it’s a major disappointment. The villa interior for act II, scene 1 is painted a drab eggshell blue and has no furniture other than a long work table and a few chairs. Several paintings—whether waiting to be hung or sold is not clear—are stacked on the floor to one side, and several little squares painted with stripes—color swatches, perhaps?—rest in a row on the wall molding halfway off the floor. It’s not very attractive, and simply leaves one baffled regarding the desired effect. By contrast, Flora’s party in act II scene 2 is appropriately elegant, marred only by garish red stage lighting, a huge modern dome light fixture hanging from the ceiling like an oversized cafeteria heat lamp hovering over sandwiches. Act III has an appropriately simple setting of a bare room outfitted with a bed, a dresser, and a couple of chairs, but again is marred by two enormous windows with blinds, against which inexplicably tall shadows (up to 30 feet) of carnival revelers are cast after Violetta finishes “Addio del passato.” Compared to the high-class La Scala staging for Gheorghiu, this is an impoverished country cousin.


So, once again, we still await the ideal La traviata . In the best of all possible worlds, I would be able to take the La Scala production, replace its wretched comprimario singers with their Covent Garden counterparts, swap out Vargas for Calleja, and replace Frontali with almost any other baritone from another DVD. (Leonard Warren, where are you when we need you?) Barring such a pleasing impossibility, however, this production is as good as any other and better than most, and is recommended accordingly.


FANFARE: James A. Altena

REVIEWS:

This chant schola, made up of members of the choir on Cape Cod, has recorded chant under Mary Berry and Richard Pugsley. For their two latest discs, the members of the schola divided the programs among themselves and took turns preparing and directing the chants. Seven men of the schola are on the latest disc, while seven women join them for the earlier disc. In the first (but newer) disc, the 24 selections range from the most familiar Marian chants to three unrecorded pieces. The latter include the responsory Benedicta et venerabilis , the Assumption hymn O prima Virgo prodita , and the antiphon Beata es Virgo Maria Dei genitrix , as well as only the second recording of the responsory Repleta est Spiritu Sancto . The familiar chants include the four final antiphons, distributed through the program in pairs (simple and solemn settings).

The excellence of interpretation is not surprising, for the first members of Gloriae Dei Cantores spent some time at Cambridge studying chant with Mary Berry in the 1980s, and she came to Cape Cod for many summer sessions until her lamented passing. Her influence has endured in the skillful semiological interpretations of these chants. All of the hymns are sung complete and the graduals include the repeat of the respond. It would be hard to single out a few pieces for special praise, but the sequence Stabat mater , which ends the program, is superbly executed through its five-minute length. The verses of the offertory Ave Maria , too, are expertly rendered; not only is this one of the most frequently recorded chants, but it is also one of the most frequently recorded offertories with verses.

In the other disc, released a year ago, the 18 selections include another three first recordings, the hymn Festiva vos , the antiphon Angelis suis , and the alleluia Benedicite Domino . The hymn Custodes hominum has only its second recording. The offertory Immittet Angelus is recorded with all three verses for the first time, and the offertory Stetit Angelus has its single verse. This program has few of the most familiar chants. The two scholas, men and women, sing most of the selections separately, joining to alternate in the verses of hymns and only rarely concluding a chant with octave singing.

The recordings, among the first Super Audio productions on this label, were made in the new Church of the Transfiguration, which the ecumenical community built on the grounds of their complex. The surround sound provides a nice sense of space around the singers. Since thematic programs focused on chants of the Blessed Virgin and the angels are so common, these discs are notable for containing some unusual selections. While I have always approved the schola’s chant recordings, these two discs attain a new height of excellence, the best chant singing of any American choir. The booklets are attractively printed, too. Both discs will grace any chant collection.

FANFARE: J. F. Weber

Each year at Christmas, Gloriæ Dei Cantores celebrates the "dawn of redeeming grace" with a traditional candlelit Service of Readings and Carols, retelling the stories of Christ's birth that stir us with memories and hopes for peace and love. Just for a time as you listen to these carols and stories, let your heart fill with gratitude for our many blessings, and with goodwill toward others. Gloriæ Dei Cantores offers this recording with a prayer that the joy of the season brings you renewed hope and a fresh sense of wonder!

Angele Dubeau and La Pieta take us around the world in a sparkling selection of Christmas themes for small string orchestra. Some tunes are familiar, others are new to us but ring with the essence of timelessness as they are surely international favorites bound for familiarity here through many repeated listenings. One characteristic every work on the program shares... simply beautiful melodies and the sound of shimmering, silken strings. This is a joyous and festive celebration sure to become a new holiday classic. - ArkivMusic

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Silent night! Holy night! Hearing just a few notes of this eternal carol is enough to envelop us in a sweet tranquility and inner peace that goes well beyond the meaning of the words written by Joseph Mohr and music famous song by Franz Xaver Gruber. Jumbled memories arise of snow-covered countryside, crackling fires, delicious aromas filling the house, the joyful shouts of excited children unwrapping presents. Has Christmas turned into mere nostalgia, or can we rediscover the true meaning of this celebration? Angèle Dubeau thinks we can and, through both popular songs and carols works associated with the Nativity, she offers here a voyage through a world with diverse origins and traditions. This musical tour and celebration of the Nativity will take you to Finland, Italy, France, Germany, Austria, the United Kingdom, Russia, and, closer to home, Mexico and Canada, with the Huron Carol.

God Jul!

In Scandinavia, Christmas celebrations begin on December 13, the feast day of Saint Lucy, when a young girl is chosen in each village to represent her. Clothed in white and a crown of candles, she goes from house to house—along with a retinue of girls in white dresses and boys with pointy, star-spangled hats—bringing light, the symbol of life and renewal, for the coming year. In Finland, the official festivities begin with a declaration of “Christmas Peace” broadcast live on December 24 from Turku Cathedral. A few moments later, Christmas bells ring out across the country, as conveyed by Joulun Kellot (“Christmas Bells”), an interpretation written by Armas Toivo Valdemar Maasalo. Juleniss, the Finnish equivalent of Santa Claus, rewards good children during the night that follows; one wonders if he is tempted to hum the song Julvisa (“Christmas Song”, subtitled Give me no Splendour, Gold or Pomp), written by a young Jean Sibelius.

Buon Natale!

While Christmas in Italy might first bring to mind panettone, a Christmas sweet bread invented in Milan around 1490 that is served stuffed with cream, topped with a sauce or covered in chocolate, the country is above all the cradle of the Nativity scene. Indeed, Francis of Assisi created one of the first “living” nativity scenes in 1223, with villagers playing various character roles. Whether miniature or almost life size, these reproductions of the manger scene quickly became a tradition, with Italian families setting them up nine days before Christ’s birthday. It is not surprising, then, that two of Italy’s most well-known Baroque composers, Antonio Vivaldi and Guiseppe Torelli, dedicated idyllic concertos to “the holy birth.”

Joyeux Noël!

In France, cantiques de Noël remain the most important part of popular celebrations of the Nativity. By the 16th century, numerous versions of these carols existed in a variety of regional dialects, and they were distributed by door-to-door salesmen who also carried “Christmas Bibles” and engraved prints (often with a carol on the back). Here, Angèle Dubeau performs Noël nouvelet, Laissez paître vos bêtes and La Vierge à la crèche, set to a text by Alphonse Daudet.

Fröhliche Weihnachten!

In Germany, Christmas is Weihnachten (holy nights), and this is where the tradition of the Christmas tree originates. Legend has it that Saint Boniface (ca. 680–754) used the triangular shape of the evergreen tree to explain the concept of the Trinity to the pagans. The first mention of the modern Christmas tree dates back to 1521 in the Alsatian town of Sélestat. Even before this, however, the Christmas mystery plays performed in church squares frequently made use of trees decorated with fruit, offerings, decorations and candles (the candle tradition being attributed to Martin Luther). Two centuries later, Johann Melchior Molter wrote a delicate concerto grosso, inspired by the scene of the adoration of the shepherds.

¡Féliz Navidad!

In central America, Mexicans celebrate Las Posadas (the inns) which, starting December 16, commemorates Joseph and Mary’s search for lodging. As night falls, a procession sets off, led by children carrying a small decorated platform bearing statues of Joseph and Mary, who is riding a donkey. As the procession of villagers winds through the streets singing litanies, they knock at various doors along the route. Each time they are turned away with the cruel words “There is no room,” until the procession arrives at the appointed house or church. Then, the doors are flung wide in the open spirit of Christmas and the celebration begins, concluding with the breaking of a piñata, refreshments and dancing. The lullaby performed here, entitled “Sleep, Holy Infant”, comes from Dave Brubeck’s Christmas cantata, “La Fiesta de la Posada”, written to a text by his wife, Iola Brubeck and arranged by Russell Gloyd especially for Angèle Dubeau. Upon hearing the recording, Mr. Brubeck’s reaction was: “This is fantastic. She is playing from her heart.”

Hristos Razdajetsja!

Orthodox Russians have always liked to transform religious events into celebrations, hence the string quartet Jour de Fête by Alexander Glazunov, which evokes the festivities held on the night of January 6 to 7, Christ’s birthday on the Julian calendar. After the church service, everyone sits down to “Holy Supper,” which cannot be started until the first star appears in the sky, an homage to the star that guided the Magi. After the feast, tradition dictates that a plate of braided bread called kalach is left on the table between two candles, in honour of deceased members of the family. Angèle Dubeau offers here one of the rare recordings of this work.

Merry Christmas!

Christmas is celebrated enthusiastically in the United Kingdom. Houses are decorated with bright lights, children sing Christmas carols (such as “Holy Boy” by John Ireland) in the street, collecting spare change for the poor, and Christmas pudding is the traditional post-Christmas-dinner dessert. Another important tradition began here: the sending of Christmas cards, a custom that began in the 15th century and expanded significantly in the 18th century with the development of lithography.

Jesous Ahatonhia

The Huron carol Jesous Ahatonhia (Jesus is born) was written by the Jesuit Jean de Brébeuf in 1641. Hoping to better convey the meaning of Christmas, the priest adapted the text to the reality of the First Nations people. Hence, Jesus is wrapped in rabbit skins, he sleeps in a bark lodge, the adoring shepherds are replaced with hunters, and three Indian chiefs take the place of the Magi. Canadian composer Kelly-Marie Murphy based her work Huron Carol Interlude on the carol. The interlude of the title refers to the third movement of her string quintet Dance Me Through the Panic, from which she borrowed shimmering colours and a sense of melancholy, imbuing the carol melody with a very particular mood and evoking, in her own words, an “imagery of ice, snow, solitude and prayer.” When she heard this Angèle Dubeau’s rendition of her work, the composer wrote: “This is a wonderfully performed and produced interpretation of Huron Carol Interlude. There is a rich, full sound, with a perfect sense of pacing and colour. It expresses my ideas beautifully. Heartfelt thanks and congratulations to Angèle Dubeau!”

© Lucie Renaud
Translation: Peter Christensen

Also available on Blu-ray

Pyotr Il'yich Tchaikovsky
THE NUTCRACKER

"One of the very best seasonal treats for children and adults alike, the Royal Ballet’s Nutcracker is a handsome, magical, thoroughly traditional rendering of ETA Hoffmann’s immortal if deeply strange story." -- Sunday Express

This all-time ballet favourite, in which young Clara is swept into a fantasy adventure when one of her Christmas presents comes to life, is at its most enchanting in Peter Wright’s glorious production – as fresh as ever in its 25th year. Tchaikovsky’s ravishing score, period designs by Julia Trevelyan Oman (including an ingenious magical Christmas tree), an exquisite Sugar Plum Fairy (Miyako Yoshida) and chivalrous Prince (Steven McRae), the mysterious Drosselmeyer (Gary Avis) and vibrant dancing by The Royal Ballet make for a captivating performance. Filmed in High Definition and recorded in true surround sound.

The Sugar Plum Fairy – Miyako Yoshida
Nephew / Nutcracker – Ricardo Cervera / Steven McRae
The Prince – Steven McRae
Drosselmeyer – Gary Avis

The Royal Ballet
The Orchestra of the Royal Opera House
Koen Kessels, conductor

Peter Wright, choreographer and director
(after Lev Ivanov)

Recorded live at the Royal Opera House, November and December 2009.

Bonus:
- Cast gallery
- Rehearsing at White Lodge
- Peter Wright tells the story of The Nutcracker

Picture format: NTSC 16:9 anamorphic
Sound format: LPCM Stereo 2.0 / DTS 5.0
Region code: 0 (worldwide)
Menu language: English
Subtitles: English, French, German, Spanish
Running time: 127 mins
No. of DVDs: 1

Nothing evokes Christmas like bells – ringing from a church steeple, accompanying a sleigh ride, or adorning evergreens. In this best-selling album, reissued at mid-price just in time for the season, the Christmas spirit is joyfully expressed through beloved carols performed on six-and-a-half octave set of Malmark handbells. The Gloriae Dei Ringers include old favorites in new arrangements, as well as original handbell works.

The Bells of Christmas is a new edition of the bestselling holiday recording, Hear them Ring. Featured are beloved favorites such as Away in a Manger, March of the Kings, and In the Bleak Midwinter arranged by some of today's best known handbell specialists and composers.

Described as "dynamically explosive" by the American Record Guide, the Gloriae Dei Ringers perform a diverse and expanding repertoire of original handbell compositions as well as classical arrangements. The Gloriae Dei Ringers, a sparkling and sonorous performing ensemble of young musicians, have dazzled audiences around the world including the US, Russia, Siberia, Italy, Finland and Switzerland.

"These virtuosi of metal and mallet positively palpitate with imagination and their arrangements are the ne plus ultra of shimmering, quivering pulsating pulchritude. The arrangement by Frances Legge Callahan summoning up twangy sonorities and pedal notes, a delicious range of colors including plucking and martellato effects. There are eleven players in this plucky Massachusetts group directed by Richard K Pugsley... they use 79 Malmark handbells (of 6 1/2 octaves). Twas Christmas Eve receives a rather suggestive reading that ends in Renaissance dignity whilst the witty coloration of The Twelve Days of Christmas is full of pitch extremes and glittering sonorities, like stars exploding. Away in a Manger is saturated in impressionistic ostinato; if you think handbells are inflexible creatures listen to the dynamic variance cultivated by these patrician East Coast ringers. They wouldn't rouse a butterfly's eyelids with the spectral quiescence of their Malmarks. A Flight of Angels is rhythmically novel; the sound of mallet on bell is distinctive as elsewhere the piping of shepherds in Shepherds, Watching is conveyed through simplicity and delicacy. Altogether their ensemble is metaltight, the sonorities they conjure full of lithe and pleasurable novelty."

— Jonathan Woolf, Musicweb-international.com

"The Gloriae Dei Ringers perform with a set of 79 bells covering 6 1/2 octaves. They are based in Massachusetts, but have toured in both eastern and western Europe, including Russia. This disc consists of arrangements of familiar Christmas carols as well as some original compositions for hand-bell choir by composers such as Donald Allured, Dale Jergenson, and Judy Hunnicutt. The performances are virtuosic, considering the teamwork essential to coherent ensemble in this medium. The program displays the wide variety of sounds that can be obtained from the bells through such techniques as plucking, martellato playing, and striking with mallets."

— William Gatens, American Record Guide

"From the Red Kettle Santas to the midnight call from the steeple, bells are a part of Christmas. This recording of Gloriae Dei's 11 musicians with their six-and-a-half-octave handbells goes beyond the usual arrangements of carols to transcriptions weaving dissonances and descants, the very highest and lowest tones, even the use of mallets on the bells to produce an intriguing and beautiful concert. In Twas Christmas Eve,Paul McKlveen pairs Let All Mortal Flesh with God Rest Ye Merry, Gentlemen. A Flight of Angels is Dale Jergenson's composition specifically for the bells, as is Donald Allured's Bellfest."

— Patricia Nakamura, The Living Church

...Rutter distils even more drama from dynamic contrasts than Dutoit, the balance between voices and instruments in his performance sounds natural, not carefully achieved, his boyish-sounding sopranos (above all the touchingly ethereal Caroline Ashton in the Pie Jesu) seem as incontrovertibly right for the colour of this work as the solitary, silvery violin that the Rutter edition employs in the Sanctus... [F]or truth to Faure's luminous conception Rutter's version is still unapproached, and it still heads my list.

-- Michael Oliver, Gramophone [1/1989]

Includes work(s) by various composers. Ensemble: Waverly Consort. Conductor: Michael Jaffee.

A new recording by John Rutter and his Cambridge Singers is always welcome, and this one features 20 works drawn from the sacred choral repertoire of the Renaissance and Baroque. Most of these are motets and many are familiar (Palestrina's Sicut cervus and Exsultate Deo, Gabrieli's Jubilate Deo, Lassus' Timor et tremor, Josquin's Ave Maria) and all are included in Rutter's published anthology, European Sacred Music (Oxford). As Rutter states, the program's theme is to focus on the "wealth of sacred music...created in continental Europe out of the ferment of the age of Reformation", and while Rutter has chosen primarily works resulting from the "extraordinary flowering" of musical activity in the Catholic church during this period, we also are treated to a motet by Bach (O Jesu Christ, meins Lebens Licht BWV 118/231, often mis-classified as a cantata), a Magnificat (presumably) by Buxtehude, and a psalm (100) by Schütz.

Some listeners of course will disagree, but for me, the program's two longest pieces--Monteverdi's Beatus vir and the Buxtehude Magnificat--are the least interesting, the former's main thematic material formed primarily by repetitive scales and rudimentary harmony set to monotonous rhythm, the latter functional and pleasant enough but rather flat, undynamic, and static, a work that reminds us that just because a notable composer wrote (or may have written!) something and the score survived doesn't necessarily mean it's good or worthy of more than musicological interest.

No matter how you judge these two works, you'll be happy with the performances, which throughout this recording are at the high level we always expect from this choir and director: vibrant, articulate, carefully balanced, and always attentive to a given work's inherent expressive possibilities. And speaking of articulate, it's wonderful to hear the opening Jubilate Deo (a piece lovingly attempted and so often mangled by well-meaning choirs all over the world) sung with such clarity and agility, unrushed; likewise, Palestrina's sublime Sicut cervus is well-paced, each line given its due. Other highlights include the Ave Maria of Josquin (impressive intonation and sectional tone quality), Lassus' Ave verum corpus (those exquisitely sustained long lines!), and a curious--and quite beautiful--setting of Crux fidelis attributed to John IV, King of Portugal. The instrumental ensemble, the relatively "new" La Nuova Musica, is first-rate, its timbres adding textural variety and layers of color to nine of the selections. And completing the package is top-notch production and engineering by Simon Eadon, captured in the excellent acoustics of London's Great Hall of University College School. Needless to say: Highly recommended!

--David Vernier, ClassicsToday.com

Alain Vernhes, Martial Defontaine, Francois Le Roux, Serghei Khomov, Sandrine Piau, Anna Shafajinskaja, and Sir Willard White star in this de Nederlandse Opera production of the Prokofiev opera conducted by Stephane Deneve.

14.99

Adolphe Adam
GISELLE

Giselle – Alina Cojocaru
Count Albrecht – Johan Kobborg
Myrtha – Marianela Nuñez
Hilarion – Martin Harvey

The Royal Ballet
The Orchestra of the Royal Opera House
Boris Gruzin, conductor

Marius Petipa, choreographer

Recorded live at the Royal Opera House, Covent Garden, London, January 2006.

Bonus features:
- Cast gallery and synopsis

Picture format: NTSC 16:9 anamorphic
Sound format: LPCM Stereo / DTS 5.0
Region code: 0 (all regions)
Menu language: English
Running time: 112 mins
No. of DVDs: 1

John Rutter directs the Cambridge Singers, The Royal Philharmonic Orchestra, and the award-winning Farnham Youth Choir alongside guest soloists Melanie Marshall, Clara Sanabras and Elin Manahan Thomas, for an unforgettable festival of Christmas music.

REVIEW:

Fans of John Rutter--and particularly of his Christmas music and programs--will certainly rejoice and be merry with the release of this, "the first all-new Christmas recording from John Rutter and the Cambridge Singers for 20 years". Listeners familiar with the Cambridge Singers' half-dozen or so earlier Christmas albums will be especially pleased to find the premieres of five new Rutter works and 10 new arrangements. Opening and (almost) closing the disc are two old favorites: David Willcocks' arrangements of O come all ye faithful and Hark! the herald angels sing--but with newly written fanfares by Rutter, whose annual London Christmas Festival concerts provided the idea and much of the material for this program.

As for Rutter's original pieces--Ave Maria; Rejoice and be merry; Magical Kingdom; New Year; I wish you Christmas--there are no surprises here, just more of the same instinctively tuneful lines, ingratiating, pop-flavored harmonies, and thoughtful treatment of texts that for decades have endeared his music to millions of singers and audiences. Seasoned Rutter listeners will especially savor the composer's trademark rhythmic style and harmonic changes in I wish you Christmas (which he wrote for the 2006 Festival) and New Year (a 2006 commission for Sandringham Church to celebrate the 80th birthday of Queen Elizabeth), for which he also wrote the texts.

Other notable entries are Bob Chilcott's The Shepherd's Carol, written in 2000 for the famed King's College service of Nine Lessons and Carols, and Nigel Hess' Christmas Overture, a tightly woven orchestral medley of traditional Christmas tunes written for the 2007 Festival that skillfully exploits both the full orchestra and the festive characteristics of the carols themselves.

There are several selections for solo voice as well, the most enjoyable of which are performed by Clara Sanabras (Rutter's setting of the Catalan carol El Noi de la Mare) and Melanie Marshall (two other Rutter arrangements, of Jester Hairston's Mary's Boy Child and the Caribbean carol The Virgin Mary had a baby boy).

In addition to the expectedly excellent performances by the Cambridge Singers, we also enjoy contributions by the fine Farnham Youth Choir on several tracks--and the Royal Philharmonic treats Rutter's orchestrations with appropriate style and enthusiasm. There's a big, festive feel to the sound and overall ambience of this production (recorded in London's Cadogan Hall), which absolutely suits the occasion--and Melanie Marshall's closing rendition of Have yourself a merry little Christmas (another Rutter arrangement) brings it all home with a nice personal blessing. A great job, and a welcome early Christmas present!

--David Vernier, ClassicsToday.com

As I said in a review of another Philip Glass recording “you know in advance what you are going to get with Philip Glass”. Even more so in the case of this recording, where some of the works - The Hours, Mishima and Company - are already quite known.

The French-Canadian string ensemble La Pietà - all female, in case you hadn’t guessed - and their leader Angèle Dubeau present what is essentially a sampler of the accessible, more recent Glass. Does that mean it will only appeal for someone wishing to hesitantly dip their toe into the Glass pool and be of no interest to the Glass aficionado? Definitely not - the works are all complete as long as you count overtures and opening credits as individual pieces. Some lesser known pieces are included and the performances and acoustics are excellent.

The overture for the “multimedia opera project” La Belle et al Bête (Beauty and the Beast) for piano and strings is the most dramatic and up-tempo music on the disc and gets proceedings off to a fine start. You can see the whole piece performed by Dubeau and La Pietà on Youtube.

I regard the score for The Hours as one of the finest ever written, and this concerto-style arrangement by long-time Glass collaborator Michael Reisman allows a greater continuity than the original itself allows.

I hadn’t heard The Secret Agent film-score before, and based on this haunting cello-dominated extract, I went searching for the complete music, which is available on Nonesuch and I am ordering it as I write. Echorus was written for Yehudi Meuhin and the sleeve-notes describe it as akin to a Baroque chaconne, and quotes Philip Glass “it is meant to evoke feelings of serenity and peace”, which it certainly achieves.

Mishima and Company are respectively string quartets 3 and 2, presented here in their string orchestra versions. The former is more sombre, the latter dominated by the archetypal Glass motoric rhythms and the final eponymously titled movement of Mishima is quite beautiful. The disc ends as it began with piano joining the strings for the elegiac Closing, from Glassworks, and one of the first compositions intended to broaden the audience for Glass’s music.

Detractors will say that there is little variation in atmosphere through the fifteen tracks on the disc, and that is true. However, as I said at the start, you already know that with this composer. In fact, the very constancy of the music’s mood makes this a recording that works at two different levels. Listen to it intently and you are rewarded by glorious melodies and the subtle variations that are his stock-in-trade, or have it playing in the background and soothe your troubled soul.

Suffice to say in conclusion that this is one of the best CDs I have bought this year.

-- David J Barker, MusicWeb International 

*** This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD or HD DVD players. ***

The program includes international favourites ("Silent Night" and "Veni, veni Emanuel"), Swedish traditional versions from the rich stock of the Lutheran hymn book ("Es ist ein Ros entsprungen") and Swedish folk tunes and newly written material in the same vein. The resulting disc gives a fresh breath of life to familiar materials, presenting us with an entirely new view of Christmas. (BIS)

SYMPHONY NO. 9

Morten Lauridsen has been very fortunate in his treatment by choirs and record labels. Part of the reason is because his music is just so sonorous, singable, and sellable. But, sticking with the alliteration, it's also "serious" in the sense that his style seems to come from a genuine and personal conviction rather than from some external, commercial or image-driven influence. His music is functional, if you want it to be, but it also serves very well as pure concert material, and the three choral cycles Lux Aeterna, Les Chansons des Roses, and Madrigali have achieved a degree of success in that role. I've commented in detail regarding Lauridsen's style in previous reviews, and you can find such a description by typing Q8554 in Search Reviews, which refers to a Hyperion recording by Stephen Layton and Polyphony that duplicates two-thirds of the program presented here.


It takes only a few minutes of listening to discern some of the primary features--some would say "formulaic traits"--characteristic of Lauridsen's more popular works, exemplified in O magnum mysterium and the Lux aeterna cycle. But it's hard not to luxuriate along with the choir in the rich-textured sound and affectingly simple melodic phrases. The work here that's not on the Polyphony recording is the choral cycle Les Chansons des Roses. Premiered in 1993, the five songs are set to poems about roses by Rainer Maria Rilke. The final one, Dirait-on (here with the composer at the piano), has become a concert favorite, but the others are equally worthy of attention by accomplished choirs. The Lux Aeterna cycle is a masterpiece of Lauridsen's kind of choral sonority and word-setting, the organ accompaniment a perfect complement to the singers' "organ-like" textures and timbres.


My only real criticism of Polyphony's performances (that disc also includes Ave Maria and Ubi caritas et amor) was its dreadfully slow reading of Lauridsen's now-ubiquitous O magnum mysterium, which retained the resonance of the harmonies but sapped the energy from the long, flowing phrases. Well, if I thought that version was slow, Nicol Matt and his Chamber Choir of Europe--unquestionably one of the world's top-tier ensembles--had a surprise in store: this one is nearly a quarter of a minute longer! Aside from some sort of odd competition (the score clearly, wisely, indicates a much faster tempo), I can't understand the purpose for the snail's pace, notwithstanding the fact that it's effortlessly sung. At any rate, this is another excellent Lauridsen program that will please choral enthusiasts and hopefully will expand this composer's reach to listeners who still haven't made his acquaintance. The sound, from two different church venues in Germany, is very good if a touch bright and weighted toward treble at louder volume on some tracks. [11/9/2006]
--David Vernier, ClassicsToday.com

Mariss Jansons's outstanding Tchaikovsky series with the Oslo Philharmonic Orchestra makes a welcome appearance in this boxed set, confirming all I have said about the individual issues over the last three years, It may still seem odd to those who have not sampled these consistently refreshing, beautifully paced and structured performances that the Oslo Philharmonic can so successfully match itself against the world's greatest orchestras, but the evidence here seems clearer to me every time I hear them and make comparisons.

Jansons in Tchaikovsky has the gift of conveying the full power and poetry of these works, naturally without indulging in wilful distortions or exaggerations. The whole set provides a bench-mark in this area, not only for interpretation but for brilliant and atmospheric recording quality too, against which others now have to be judged.

-- Edward Greenfield, Gramophone [1/1989]

This lovely little book and CD set is intended to familiarize you with the spirit, song, and life of the Taize Community. Sixty color photos depict the beautiful Taize countryside and the captivating, universal allure of this thought-provoking and powerful way of life and prayer. Prayers and meditations by Brother Roger, founder of Taize, are incorporated into the book as well. The accompanying CD holds nearly 71 minutes of Taize favorites from their various recordings. "Nothing is more conducive to a communion with the living God than a meditative common prayer with, as it's high point, singing that never ends and that continues in the silence of one's heart when one is alone again." - Brother Roger of Taize

This recording from Maddy Prior is a collection of ancient carols from across Europe, played by The Carnival Band on replicas of medieval instruments. It was recorded at The Quaker Meeting House, Frenchay, near Bristol. Tracks include "The Sans Day Carol," "God Rest Ye Merry Gentleman," "The Holly & the Ivy," "It Came Upon a Midnight Clear," and more. (Saydisc)

Classical Music