Classical Music

Soprano Jodie Devos, who has signed with Alpha for several recordings, here pays homage to Offenbach, whose bicentenary of his birth is celebrated in 2019. This programme shows Offenbach’s fascination with the vocal fireworks of coloratura divas. This kind of ‘lyric coloratura’ or ‘soprano leggero’ voice runs like a thread through most of the composer’s oeuvre, from his first pieces for two or three soloists to those grand frescoes of his maturity, La Vie parisienne, Robinson Crusoe, and Orphee aux Enfers. The coloratura soprano also adorns Offenbach’s less frivolous operettas (such as Fantasio), as well as his only serious opera, Les Contes d’Hoffmann, in which the role of the doll (with only one aria, but what an aria!) is among the most famous in the entire French repertoire. Concocted collaboratively with Alexandre Dratwicki and the Palazzetto Bru Zane, this recorded programme- tailor-made for Jodie Devos- presents innumerable rarities from Mesdames de la Halle, Boule-de-Neige, Un mari a la porte, Le Roi Carotte, Le Voyage dans la lune, and Vert-Vert. In the famous duet, Oiseaux dans la charmille, she is joined by up and coming mezzo-soprano Adele Charvet.

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REVIEW:

The main thing to say about Devos – and her thoroughly idiomatic partner-in-frolic, Laurent Campellone – is that she (and this is a huge compliment) delivers all that is required of her, and more, with the apparent ease of one who knows how important it is to conceal the difficulty. The real kicker with this album is the way in which number after number springs its surprises. The vocal pyrotechnics are artfully designed to make one’s jaw hit the floor.

– Gramophone

MENDELSSOHN: Flute Concerto in D Minor / Flute Sonatas

The third volume of the Musical portraits series is dedicated to André-Modeste Grétry (1741-1813). This 5CD box set includes highlights of several operas (La caravane du Caire, L'amant jaloux, Le jugement de Midas), his Six Quartets, op. 3 (Paris, 1773) and some partial adaptations of his operas (by Mozart and Franck, among others). These works demonstrate Grétry‘s fine melodic sensibility, harmonic panache and accomplished artistry.

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

Benjamin Britten’s last opera Death in Venice is based on the novella by Thomas Mann. It was first performed in England in 1973. The astringent score is marked by some haunting soundscapes of 'ambiguous Venice'. The boy Tadzio is portrayed by a silent dancer, gamelan-like percussion accompaniment. The music of the opera is precise, direct and movingly understated. Britten had been contemplating the novella for many years and began work in September 1970 with approaches to Piper and to Golo Mann, son of the author. Because of agreements between Warner Brothers and the estate of Thomas Mann for the production of Luchino Visconti’s 1971 film, Britten was advised not to see the movie when it was released. According to Colin Graham, director of the first production of the opera, some colleagues of the composer who did see the film found the relationship between Tadzio and Aschenbach "too sentimental and salacious". This contributed to the decision that Tadzio and his family and friends would be portrayed by non-speaking dancers. Themes in the work of "formalism in art and the perilous dignity of the acclaimed artist" have been noted.

Marlin Miller, tenor – Gustav von Aschenbach; Scott Hendricks, baritone – Traveller and other roles;François Bittar, countertenor – Voice of Apollo; Allessandro Riga, dancer – Tadzio;
La Fenice Theatre Orchestra and Chorus; Bruno Bartoletti, conductor
DIRECTION & COSTUMES: Pierluigi Pizzi
CHOREOGRAPHY: Gheorghe Iancu

Recorded Live at Teatro La Fenice, Venice 2008
NTSC; All Regions
Running time 155 min.
Sung in English
Subtitles: Italian, German, French, Spanish

With the rise of Romanticism, the topics of opera changed from the mythological fantasy of Baroque operas to the fairytale fantasy which graced the French stage long before Romanticism reached other European nations. Initiated by the Palazzetto Bru Zane, this project is built like a universal fairytale, inspired by Cinderella, Sleeping Beauty, Bluebeard, and others, as set to music by French composers of the Romantic period, alternating between famous composers such as Offenbach and Rossini and little known masters like Viardot, Silver, and Isouard. This imaginary opera was conceived and transcribed by Alexandre Dratwicki for piano quartet and two singers- a soprano and a mezzo, the roles of which are performed here by Jodie Devos and Caroline Meng.

The Belgian composer A.E.M. Grétry or André Ernest Modeste Grétry, is perhaps better known as simply André Grétry. This is his musical depiction of the William Tell story.

On March 23, 1783, an important concert took place in Vienna, playing a considerable role for Mozart’s reputation in the imperial capital, where he had resided since 1781. It is obvious that Mozart wanted to be herad in both what he had composed prior to his move to Vienna, as well as I his more recent works. From the Salzburg repertoire, he borrowed the ‘Haffner’ Symphony. To this he added the long concertant movement for wind instruments from the ‘Posthorn’ Serenade. Here we also find two piano concertos, one from Salzburg and one which was composed likely for this specific occasion. Several arias are also included from his earlier operas. The Millenium Orchestra with Jodie Devos and Sebastian Wienand have painstakingly recorded this release to mimic this historic concert, so that the listener can rediscover this monumental night as if they were there.

Jean-Philippe Rameau (1683-1764) left two very different versions of his tragédie en musique Zoroastre: the first, in 1749, suffered from cabals and the work was withdrawn from the repertory. Rameau gave it a thoroughgoing revision in 1756. At this time, he was at the height of his powers. Melody, harmony, orchestration and choral writing no longer held any secrets for him. Zoroastre brought still further innovation. For the first time, he dispensed with a prologue, and turned the overture into a philosophical ‘program’, the struggle between day and night, between good and evil.

The 1749 version is entirely governed by avant-garde ideas; Zoroastre resembles Tamino in The Magic Flute, but two generations earlier. This disconcerted some of the audience: Zoroastre was a moral, social and philosophical opera. The 1749 version has never been revived in modern times. Alexis Kossenko takes up the challenge with zest, accompanied by an outstanding cast including Véronique Gens, Jodie Devos, Reinoud Van Mechelen, Mathias Vidal and Tassis Christoyannis.

REVIEW:

For listeners more used to English Baroque, this example of high French Baroque will require a big adjustment: every element – aria, duet, chorus, instrumental interlude – is short and thick with text; the feminine ending of each musical line reinforces the Gallic character of the whole.

The chorus and line-up of soloists is first-rate, with a suitably menacing Abramane (Tassis Christoyannis) and a witchy Érinice (Véronique Gens); with a gorgeously pure-toned Amélite (Jodie Devos), and an expressive and clarion-voiced Zoroastre (Reinoud van Mechelen). The instrumental numbers (notably the sarabands) are beautifully done, with the weather – lashings of thunder and lightning – forcefully dramatised throughout.

-- BBC Music Magazine

PLAYING FOR KEEPS

SHIFTING SANDS

BENOIT: Piano Concerto / Flute Concerto