Bringing together Benjamin Britten’s Les Illiuminations and Claude Debussy’s Ariettes Oubliées is like peeking behind the door to one of the most mythical bedrooms in literary history. There sit the poets Arthur Rimbaud and Paul Verlaine, working frantically away. They write on loose sheets of paper, promissory notes and receipts. The ink drips, the papers are full of wine stains and food scraps. They are unwashed and unshaven. They drink, quarrel and sleep with each other. Verlaine writes texts that will be included in the collection of poems Romances sans paroles, taken by Debussy as a starting point for Ariettes Oubliées. The poems that Rimbaud is working on will much later be published as Les Illuminations.

REVIEW:

Benjamin Britten was 26 years old when he wrote Les illuminations. He had been captivated by Arthur Rimbaud's prose poems and perhaps also by Rimbaud's relationship with Paul Verlaine. On record, it is common to bring the work together with Britten's other orchestral song cycles, such as the Serenade for tenor, horn and strings, Quatre chansons françaises, and Nocturne. Here, a different concept has been chosen instead. Instead of more Britten, we get a song cycle by the then 25-year-old Claude Debussy. He often returned to Verlaine's poetry, and in Ariettes oubliées (Forgotten Little Songs) he has set to music six poems from Verlaine's Romances sans paroles ("Songs without words"). It may seem like a strange title for a collection of poems, but clearly indicates Verlaine's desire to bring poetry closer to music; after all, Mendelssohn called his piano pieces Lieder ohne Worte. Verlaine and Rimbaud wrote their poems in 1871, moreover in the same room.

Debussy's song cycle was written for voice and piano but has been arranged here for the same ensemble as Britten's Les illuminations, i.e. string orchestra. For the delicious arrangement, Tobias Broström claims credit. As soloist we hear the soprano Sofie Asplund and the conductorless orchestra is LuKaS (pronounced Lunds Kammarsolister). Asplund could hardly have wished for a better debut album than this intelligently composed album with delicious music. As an "encore" we also get Debussy's familiar "Clair de lune" (inspired by a poem by Verlaine) in a delicate orchestral arrangement by Daniel Fjellström. The text booklet contains, thankfully, all the poems in French and in translations into English and Swedish.

-- Kulturdelen

When our latest opera soprano star Sofie Asplund makes her album debut, it’s with this song cycle to lyrics by Paul Verlaine, linked with Benjamin Britten’s song cycle “Les illuminations” to lyrics by Arthur Rimbaud. A link that makes the album an almost forbiddingly hot encounter between the two poets and their famous love affair that went so far that one shot the other.

This theatrical dimension is a perfect starting point for Asplund’s dramatic intelligence and mercurial sensibility, capturing the beauty of the cruelest of things, the gasping pulse of the last breath. Which is wonderfully supported here by the Lund Chamber Soloists (LuKas). Asplund throws herself boldly into “this wild performance” as one of the songs puts it. And turns the album into an uncivilised nocturnal party, immersed in whirlpools and in whipping foam.

-- Dagens Nyheter (Martin Nyström)

This release of the Britten Cello Suites follows Quirine Viersen’s successful album of the Bach Suites. The album is a tribute to the artist’s good friend and producer Paul Janse, who passed away two years ago. Dutch cellist Quirine Viersen is one of the leading musical personalities of her generation. Her intense and virtuosic playing has convinced the public, the press, and her colleagues of her special musicality. She has shown broad insight in classical music literature with her concerto and recital performances as well as her festival participation. Viersen has been awarded numerous prizes at international competitions, the most important being the Young Artist Award in 2000 which was presented to her by the Credit Suisse Groupe. Viersen plays a 1715 Joseph Guarnerius Filius Andreae, provided by the Dutch National Instrument Fund.

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

Also available on standard DVD
Adapted from Thomas Mann’s 1912 novella, Death in Venice was Benjamin Britten’s last opera, the composer insisting on its completion while delaying badly needed heart surgery. The starkly simple narrative of a famous but failing novelist travelling to Venice to seek inspiration only to find unhealthy infatuation and deadly cholera, is given a chamber-like precision and clarity through Britten’s score, becoming a haunting drama filled with musical symbols, disquieting mystery and richly evocative atmospheres of Venice and its strange characters. Willy Decker’s Teatro Real production was described as ‘one of his most brilliant stage works… a remarkable technical feat.’

Also available on Blu-ray

Adapted from Thomas Mann’s 1912 novella, Death in Venice was Benjamin Britten’s last opera, the composer insisting on its completion while delaying badly needed heart surgery. The starkly simple narrative of a famous but failing novelist travelling to Venice to seek inspiration only to find unhealthy infatuation and deadly cholera, is given a chamber-like precision and clarity through Britten’s score, becoming a haunting drama filled with musical symbols, disquieting mystery and richly evocative atmospheres of Venice and its strange characters. Willy Decker’s Teatro Real production was described as ‘one of his most brilliant stage works… a remarkable technical feat.’

A strikingly alert, fresh-faced reading of the Young Person's Guide, but the major attraction is the Sinfonia da Requiem, which immediately impresses with the focus and sheen of the orchestral playing.

I haven't enjoyed Britten's endlessly resourceful Young Person's Guide so much in ages... [A] strikingly alert, fresh-faced reading... When it comes to the Grimes Interludes, [Slatkin] concentrates on meticulous refinement, with radiantly airy textures throughout: the results are more coolly detached than we are used to hearing and often strikingly beautiful... [W]hat's more, [he] offers a notable bonus in the shape of a lucid and (once again) strikingly refined account of the ''Passacaglia'' from the same opera.

So what is left on the RCA collection? Well, there's a most eloquent, beautifully poised rendering of the Purcell Chaconne—Britten's loving realization can rarely have sounded more beguiling. But the major attraction here is the Sinfonia da Requiem. This could hardly start more promisingly, with fearsome ff timpani blows and balefully growling tuba. Again, what immediately impresses is the focus and sheen of the orchestral playing, but there's a price to pay, perhaps, in the shape of some lack of emotional thrust. It's the Dies irae centrepiece which bears this observation out most clearly: the demons certainly don't scamper quite as malevolently as they do on the composer's own 1964 Decca recording (which still, by the way, sounds absolutely stunning three decades on!)... Of course, this movement's shattering disintegration is as hair-raising as ever, and in the concluding ''Requiem aeternam'' Slatkin transmits a soothing, consolatory glow that many will find deeply moving.

In sum, [a] superior, finely engineered [addition] to the Britten discography; indeed, I can't imagine the majority of collectors will find much to disappoint them here.

-- Andrew Achenbach, Gramophone [3/1994]

Also available on Blu-ray

Seventy years after its Glyndebourne world premiere, Benjamin Britten's first chamber opera is welcomed home with "a performance of enthralling emotional power and physical beauty" gifted with "piercingly intelligent, immaculately realized staging and superb singing, acting an playing" led by "Fiona Shaw's supremely nuanced direction" and underpinned by "febrile playing" from members of the London Philharmonic Orchestra (The Telegraph, five stars). The production eloquently and tastefully tackles the difficult subject, which is lent emotional weight by "Christine Rice's grandly sung Lucretia, noble in tone yet tragically vunerable", along with baritone Duncan Rock's "forthright" Tarquinius and the "smooth bass" of Matthew Rose as the caring Collantinus (The Guardian, five stars).

Picture Format: NTSC, 16:9
Audio Formats: LPCM 2.0, DTS Digital Surround
Subtitles: English, French, German, Japanese Korean
Region Code: 0 (Worldwide)
Running Time: 114 mins (Opera), 17 mins (Extras)

The “Songs from the Chinese”, a cycle of six songs on poems translated from the original Chinese by Arthur Waley (1889–1966), were written in 1957 and premiered the following year by the duo of Pears and Bream. By the late 50s Bream was a lutenist and guitarist of great renown and had accompanied Pears in works by Dowland and other early music of the British Isles, concerts that inspired Britten to write for the duo some music of his own. His cycle naturally invited comparison with another great set of songs from the Chinese, Mahler’s “Das Lied von der Erde”, and the reception at the time was favourable: “as a whole, they make a statement about life (and particularly the transience of youth and beauty) as poignant and personal as Mahler’s” (critic Jeremy Noble in Tempo,1959). The sixth instalment of Britten’s lifelong project of folksong arrangements was published in November of 1961 in a second wave along with volumes four and five, which followed some 12 years after the first three volumes were issued in the 1940s. Volume Six contains six English folksongs and is the only one of the sets that he scored for voice and guitar. These folksong arrangements are as much a product of Britten’s admiration for Bream as are the “Songs from the Chinese”. In fact, when Pears and Bream premiered Britten’s song cycle at the Aldeburgh Festival (17 June 1958), they performed three of these folksongs on the same concert. Britten wrote the guitar solo “Nocturnal” after John Dowland in 1963 for Bream, who premiered it the following year (12 June 1964). The nine movements of the work are a “variations & theme”, progressing opposite to the usual order of a theme and variations. The model, “Come, Heavy Sleep” from the First Book of Songs by John Dowland (1563–1626), is only revealed at the end, with the variations leading up to it hinting at the song with treatments of various thematic fragments. Marcello Nardis and Duilio Meucci complete this album with three additional works by Dowland including the original “Come, Heavy Sleep” on which Britten based his Nocturnal, another well-known song, “Flow my tears”, and the lute solo “A Dream”.

It was probably Peter Pears, Britten’s partner in music and life, who drew the composer’s attention to the rich heritage of English folksong and its attractions, as a way to introduce texture, variety and a lighter tone to their song recitals together during the 1940s. According to the tenor, Britten ‘wanted to recreate these melodies with their texts for concert performance, to make them art-songs … he therefore takes the tune as if he had written it himself and thinks himself back as to how he would turn it into a song.’ Thus the piano parts are no mere accompaniments but highly wrought, deftly illustrative comments on the texts and stories of love and country life. In cases such as The Foggy, Foggy Dew and O Waly, Waly, Britten’s arrangements have become better known than any ‘original’ version; they have assumed the identity of the song in the popular imagination, and the distinctive voice of Pears singing them imprinted itself on the imaginations of countless music-lovers in the second half of the last century. However, the songs retain their place in the concert repertoire of many young singers, often as more than encore material, and they admit a rich variety of interpretative approaches. The tenor Mark Milhofer has previously taken part in Brilliant Classics surveys of the complete song output of Alban Berg (95549) and Francesco Tosti (Vol.1 – 95201), with the Berg attracting particularly enthusiastic praise: ‘Totally absorbing… convincingly performed from the first note to the last. Each performer brings sincerity and enthusiasm to this varied repertoire. The recording is ideal’ (MusicWeb International).

From Ondine comes a perceptive, at times daring, always thought-provoking new account of Britten's Piano Concerto. Indeed, pungent characterization is the order of the day, especially in the two middle movements. Here the ''Waltz'' is teased out with sly seduction by Okku Kamu and his excellent Swedish group, yet at the same time the ominous undertones of this music—its elements of ghostly burlesque and bitter irony—have (to my ears, at any rate) never been more unnervingly projected. Even more distinctive is Ralf Gothoni's provocatively expansive way with the opening of the ''Impromptu''. Britten's theme now emerges like some ravishingly intimate meditation, its quasi-improvisatory air (as the movement's title suggests) compellingly conveyed. Yet such is the magnetic concentration of Gothoni's playing that the line never falters, and the rest of the movement is again memorably realized—how marvellously for example, Kamu 'places' the final sustained ppp string chord.

As on the admirable performance by Joanna MacGregor for Collins Classics, we are also offered the concerto's original slow movement, a sharply inventive, highly capricious ''Recitative and Aria'' (which Britten withdrew in 1945, seven years after the work's premiere). Ondine rather jarringly programme this movement between the ''Waltz'' and ''Impromptu'', whereas Collins allot it a separate track after the concerto proper—an altogether preferable arrangement, I feel. No complaints, though, about the fizz and bravura on show in the opening ''Toccata'', nor about the mock-banal finale, whose largamente climax struts forth in superbly grim fashion here. In sum, a performance which all Brittenites should investigate.

Welcome contrast is afforded by the two Rossini-inspired suites, and Kamu does them both proud. The orchestral playing in Helsingborg has all the necessary poise and affection, whilst I especially enjoyed the extra breathing-space and wealth of tender expression Kamu finds in the two most reflective numbers (namely the ''Canzonetta'' from Soirees and ''Nocturne'' from Matinees) Ondine's sound throughout is simply first-rate. A splendid release.

-- Andrew Achenbach, Gramophone [1/1995]

“Gift Voucher: six Suites for Slava” This note, scribbled on a paper napkin was a promise supposedly made in 1964 by Benjamin Britten to the cellist Mstislav Leopoldovich “Slava” Rostropovich. It would appear that he wanted to compose for his friend a contemporary counterpart to Bach’s Solo Suites, which for any cellist are a sort of Old Testament in the cello repertoire. Britten took Baroque dance movements as a model and formed them into modern character pieces. Both from the point of view of form and tone, they exude a kinship and affinity with Johann Sebastian Bach. The fact that he actually only composed three suites was due to Britten’s poor health and his death not long afterwards. Britten’s encounter with Mstislav Rostropovich was the motive and inspiration for his cello works: they had met in the early 1960s through Dmitry Shostakovich at a performance by Rostropovich of the Soviet composer’s First Cello Concerto. Shostakovich is said to have complained after the concert of bruised ribs because during the concert Britten had often jabbed him in the ribs out of pure enthusiasm for the music. That enthusiasm led Benjamin Britten to dedicate his cello suites to the exceptional cellist. (Jakob Spahn)

"One of the most unlikely of mystics, Benjamin Britten penned his Hymn to the Virgin when he was just sweet 17. In its antiphonal responses between eight-part choir hymning the Virgin’s virtues in English and four-strong semi-chorus echoing their phrases back at them in Latin, it’s a gift to the Choir of Westminster Abbey, singing on its home ground, under Martin Neary. This all-Britten collection surrounds the familiar Ceremony of Carols – surely the most affecting anthology of its kind ever composed – with less familiar items like the Wedding Anthem for Lord Harewood and Marion Stein (now Thorpe) and the Christopher Smart setting Rejoice in the Lamb, plus a guest performance, as it were, of Canticle II: Abraham and Isaac with its other-worldly opening for unison alto and tenor (Michael Chance and Ian Bostridge) as the Voice of God – worth a million dollars, as BB himself confided to Tippett...This disc is one of the best things [Neary and the Westminster Choir] have done."

-- BBC Music Magazine

Outstanding singers, conductors and directors come together in five diverse but compelling operas by Benjamin Britten. The turbulent, inward fishing community of Peter Grimes is transposed to a merciless 1980s society in Richard Jones' production. An 'outstanding' Sarah Connolly (Guardian) stars in The Rape of Lucretia, navigating the difficult tale with superb poise. Billy Budd is grippingly staged aboard the claustrophobic MS Indomitable, with Jacques Imbrailo portraying the troubled sailor in the 2010 Glyndebourne Festival Opera production by Michael Grandage. More light-hearted is the Royal Opera House staging of Gloriana, penned by Britten to celebrate the Coronation of Queen Elizabeth II and featuring Susan Bullock as the monarch. Finally, Edward Gardner conducts the English National Opera in Deborah Warner's highly acclaimed production of Death in Venice, In which John Graham-Hall stars as the ageing Gustav von Aschenbach. These productions from some of the world's best opera houses offer five masterful performances that are an ideal way to experience Benjamin Britten's music. Filmed in High Definition and recorded in true Surround Sound.

A BRITTEN COLLECTION
(7-DVD Box Set)

PETER GRIMES

Peter Grimes - John Graham Hall

Boy - Francesco Malvuccio
Ellen Orford - Susan Gritton
Captain Balstrode - Christopher Purves
Auntie - Felicity Palmer
First Niece - Ida Falk Winland
Second Niece - Simona Mihai
Bob Boles - Peter Hoare
Swallow - Daniel Okulitch
Mrs. Sedley - Catherine Wyn-Rogers
Rev. Horace Adams - Christopher Gillett
Ned Keene - George von Bergen

Milan La Scala Chorus and Orchestra
Robin Ticciati, conductor
Richard Jones, stage director

Recorded live at the Teatro alla Scala, June 2012

THE RAPE OF LUCRETIA

Lucretia - Sarah Connolly
Tarquinius - Christopher Maltman
Bianca - Catherine Wyn-Rogers
Lucia - Mary Nelson
Junius - Leigh Melrose
Collatinus - Clive Bayley
Female Chorus - Orla Boylan
Male Chorus - John Mark Ainsley

English National Opera Orchestra
Paul Daniel, conductor

David McVicar, stage director

Recorded live at the Aldeburgh Festival, The Maltings, Snape, 2001

BILLY BUDD

Captain Vere - John Mark Ainsley
Billy Budd - Jacques Imbrailo
Claggart - Phillip Ens
Mr. Redburn - Iain Paterson
Mr. Flint - Matthew Rose
Lieutenant Ratcliffe - Darren Jeffery
Red Whiskers - Alasdair Elliott
Donald - John Moore
Dansker - Jeremy White
Novice - Ben Johnson
Squeak - Colin Judson
Bosun - Richard Mosley-Evans

Glyndebourne Chorus
London Philharmonic Orchestra
Mark Elder, conductor
Michael Grandage, stage director

Recorded live at the Glyndebourne Opera House, 8 and 11 June 2010

GLORIANA

Queen Elizabeth I - Susan Bullock
Earl of Essex - Toby Spence
Countess of Essex - Patricia Bardon
Lord Mountjoy - Mark Stone
Lady Rich - Kate Royal
Sir Robert Cecil - Jeremy Carpenter
Sir Walter Raleigh - Clive Bayley
Ballad Singer - Brindley Sherratt

Royal Opera Chorus
Royal Opera House Orchestra
Paul Daniel, conductor
Richard Jones, stage director

Recorded live at the Royal Opera House, June 2013

DEATH IN VENICE

Gustav von Aschenbach - John Graham Hall
Traveller / Elderly Fop / Gondolier / Barber / Hotel Manger / Player / Dionysus - Andrew Shore
Apollo - Tim Mead
Tadzio - Sam Zaldivar
The Polish Mother - Laura Caldow
Two Daughters - Mia Angelina Mather / Xhuliana Shehu
The Governess - Joyce Henderson
Jaschiu - Marcio Teixeira

English National Opera Chorus and Orchestra
Edward Gardner, conductor
Deborah Warner, stage director

Recorded live at the London Coliseum, June 2013

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Bonus:
- Cast gallery (all)
- Introduction to the opera (Billy Budd, Gloriana)
- Introduction to the designs (Billy Budd)
- Interviews with the cast and crew (Peter Grimes)
- Comments from the director (The Rape of Lucretia)
- Britten’s Aldeburgh (Gloriana)

Picture format: NTSC 16:9 anamorphic
Sound format: DTS 5.1 (all) / + LPCM 2.0 (The Rape of Lucretia, Billy Budd, Gloriana) / + Dolby Digital 2.0 (Peter Grimes, Death in Venice)
Region code: 0 (worldwide)
Audio Language: English
Menu Language: English
Subtitles: English, French, German (all) + Japanese (Peter Grimes, The Rape of Lucretia, Gloriana) + Korean (Death in Venice) / + Spanish (Billy Budd)
Running time: 13 hrs 10 mins (opera) + 27 mins (bonus)
No. of DVDs: 7 (DVD 9)