With The Fairy Queen, Sébastien d’Hérin and Les Nouveaux Caractères set down on record their musical vision of one of Henry Purcell’s most compelling dramatic works. The 1692/1693 work dates from around half a century before two other Baroque scores which Les Nouveaux Caractères has tackled recently and received significant critical approval: Leclair’s Scylla et Glaucus and Rameau’s Les Surprises de l’Amour (the latter, like The Fairy Queen, appearing on Glossa). Being a semi-opera, the music of The Fairy Queen doesn’t need to follow a narrative methodically from start to finish and, indeed, what we get is essentially a series of self- contained masques. Purcell channels the spirit of William Shakespeare’s A Midsummer Night’s Dream rather than using the text of that comedy; many characters appear across the work but yet Purcell’s music is of great coherence. Not unlike Purcell himself, Sébastien d’Hérin has opted not to use a formal chorus but to have a long- established team of musical partners singing the choral parts as well as the solo roles. Among the modern-day singers are to be found Anders Dahlin, Samuel Boden, Caitlin Hulcup (who sings “An Epithalamium”), Virginie Pochon, Guillaume Andrieux, Hjördis Thébault and Caroline Mutel (to whom is entrusted “The Plaint”). Alongside the typical instruments of the string, wind and continuo departments of d’Hérin’s orchestra are to be found a serpent, a cornett and a regal. In the booklet essay, the conductor himself explains how this new production of The Fairy Queen has taken shape over a period of ten years.

The great patriotic opera of the 17th century, recorded here in a lively new performing edition after two decades in the Gabrieli’s touring repertoire. Notoriously difficult to present on recording or in concert, this version presented by Gabrieli was created to allow an obvious musical narrative, despite Purcell’s music often being completely dislocated from much of the original theatre context. Gabrieli have been performing the music from King Arthur for nearly a quarter of a century, evolving their interpretation over time. With the score having to be pieced together using separate versions (due to Purcell’s originals being lost), and with Gabrieli’s evolved interpretation of the music, the end product of this recording is truly unique. Their next release on Signum will be with the semi-opera by Purcell, Fairy Queen, in April next year, which is an adaptation of A Midsummer Night's Dream.

-----

REVIEW:

The eight soloists with two additional singers form an excellent chorus that is adept in every context. Throughout the opera McCreesh’s speeds are relaxed rather than driven – no bad thing, to my mind, and it results in Dryden’s wonderful poetry being acted with personable clarity, and the lucidity of musical gestures ensures that affection and intimacy are the hallmarks of a performance that conveys a humane smile.

– Gramophone

Classical Music

Classical Music

The charm of this opera is in that it contains everything, like Cervantes’ Don Quixote: any life experience is within it. Love, hate, death, dream, despair, the innocent and the wicked play. Purcell’s awareness in portraying such opposite feelings is amazing as well as the room that he leaves to the conductor. So, here is why a new “Dido”: as an artist in love with this opera, Fabio Bonizzoni wants to deliver his reading. He wants to translate Purcell’s “sign” his own way, how much this opera is alive, lively, modern, contemporary. How Purcell’s genius was able to convey Dido’s despair and Aeneas’ cowardice and how much Purcell himself had fun in depicting the plot. Fabio Bonizzoni, one of the leading Italian harpsichordists and organists of his generation, graduated in organ, organ composition and harpsichord at the Royal Conservatorium in The Hague in Ton Koopman’s class. He frequently enjoys commitments as guest conductor: in recent times he has been invited by Capella Cracoviensis and Wroclaw Baroque Orchestra in Poland, by the Holland Bach Society in The Netherlands, and by the Orchestra Barroca de Sevilla.

Recorded in: St Jude on the Hill, Hampstead, London 2-4 September 1993 & 26-28 September 1994 Producer(s) Nicholas Anderson Sound Engineer(s) Richard Lee Jonathan Cooper (Assistant)

Recorded in: Rosslyn Hill Chapel, Hampstead, London 3-5 January 1981 Producer(s) Brian Couzens Sound Engineer(s) Ralph Couzens

Purcell: The Indian Queen

Purcell, H.: Opera Suites

Performance of works from the age of Henry Purcell have changed considerably since this 1960 live recording from Aix en Provence given the exponential growth in all things historically-informed, but there is still enormous pleasure to be gotten from listening to great singers sing the great stage works of any age, even if they fall on today's ears as at least somewhat dated in style. Conductor Pierre Dervaux leads a cast featuring Teresa Berganza as Dido, Hanny Steffek and the great Gerard Souzay as Aeneas in Purcell's Dido & Aeneas, in good sound, 24bit/96kHz remastered.

Classical Music

This was L’Opéra Harmonique’s first production at Opéra de Rouen. It is a singularly thought-provoking take on Purcell’s famous piece. The extended duration is due to various inserts along the way in the manner of the period. The orchestra, using period instruments, is wonderfully polished throughout, making the pointed dances a particular delight.

Here, the sea is the ‘matrix of the action’, to quote the booklet notes. As a “reflection of the protagonists’ souls”, it shadows the fluidity of the action and the characters’ response to the travails of doomed love. Cécile Roussat and Julien Lubek have done a sterling, hyper-imaginative job of direction, choreography, sets and costumes. The stage deliberately seems to invoke the mythic, a magical time before ours, artificial in its immediate effect but, via this distancing, allowing the core emotions of the drama to shine forth. The production sets out to depict all characters involved in the action, even those merely mentioned in the libretto (like Diana). Also Cupid draws his bow in stylised movements onstage during the course of the dramatic and beautifully expressive Overture. The excellent choir is offstage throughout, a disembodied Greek chorus capable of the greatest delight as well as the deepest pathos (“Great minds against themselves conspire”). Replacing them onstage, perhaps, are the dancers and acrobats. Prepare for a raft of the interpolations mentioned above; gird yourself for example, also for trapeze artists, swing from the ceiling as the lovers’ hands seek to touch, a scene that moves effortlessly into “Let the triumphs of love and of beauty be shown”.

Vocally, the first thing to note is that this international cast delivers the English text astonishingly well. As much care has gone into diction as has been lavished on any other performance aspect and indeed on the production.

The Dido is Alaskan soprano Vivica Genaux, stunning in her expressivity and decidedly feisty in her final scene with Aeneas. Yet she is truly touching in her Lament, beginning with her arms fully extended as if to reflect the length and beauty of her phrasing. Finally, she is enveloped by the sea, the sea that has provided such a powerful metaphor throughout. At last, also, we the DVD viewers see the chorus, now in the orchestra pit. Feathers fall at the end — traditionally a sign of angelic presence – is this the reference?

Portuguese soprano Ana Quintans is a fresh-voiced, charming Belinda, wondrously nimble at “Haste, haste to town”. Perhaps the surprise is a male singer for the part of the Sorceress, a high baritone, Marc Mauillon, who also takes the role of the Sailor. The use of a male voice was suggested by a 1706 prompt book, and 'hir' (to use a conflation of “his” and “her”) scenes are augmented by dancers. S/he is a sort of camp octopus. Don’t buy the DVD on this information alone, but I admit that it sounds intriguing.

As Aeneas, Henk Neven is vocally superb although perhaps his stage presence does not quite suggest Aeneas’ magnetism. However, this is altogether a most fascinating DVD, superbly performed. The camera-work is good, if not excellent — sometimes sudden close-ups can seem rather random. Not by any means your run-of-the-mill Dido, but for those that already own the William Christie Glyndebourne on Opus Arte (or that same conductor’s version on Fra Musica with Hilary Summers), or Hogwood’s ROH DVD (Orchestra of the Age of Enlightenment with a cast that includes Sarah Connolly), this DVD still acts as a necessary complement.

-- Colin Clarke, MusicWeb International

Alpha is now reissuing three recordings from its back catalogue, the first album is of the conductor Teodor Currentzis. An opportunity to discover or rediscover three very different styles, and three facets of the talen tof ''the enfant terrible of classical music'', as Le Figaro called him, for whom ''music is intended to transport into the waking world the sentiments we feel when we dream''. With their invitation to travel through different periods and territories, these reissues may be appreciated both separately and as a triptych revealing the artistic approach of Teodor Currentzis and his ensemble MusicAeterna, from Purcell's Dido and Aeneas to Shostakovich's Symphony No. 14 by way of Mozart's Requiem, the Salzburg composer's last work, here given an invigorating reinterpretation.

There are 24 Odes and Welcome Songs composed by Purcell between 1680 and 1695: 4 celebrate St Cecilia, 6 are to welcome royalty, 3 celebrate King James II’s birthday and 6 celebrate that of Queen Mary (from 1684 to 1694). The others were written for specific events – royal wedding, Yorkshire festival, Duke of Gloucester’s birthday, hundredth anniversary of Dublin’s Trinity College, etc. For these occasions, Purcell composed incredibly imaginative music of amazing quality – often keeping his most beautiful pieces for less remarkable texts, most of the time conventionally obsequious when it came to royalty. According to the registers, the number of singers and musicians were surprisingly small during special events. Purcell’s most elaborate Odes (namely Come Ye sons of Art and Hail! bright Cecilia) seem to have been designed for about twelve instruments and four singers, for solos and choruses. The Banquet Céleste chose a chamber music-like spirit for these extremely expressive and musical works.

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

Also available on standard DVD

The collaboration of the poet John Dryden and Henry Purcell marked a conspicuous leap forward for English opera. Their greatest project, King Arthur, is a five-act ‘dramatick opera,’ the text of which had its origins in a patriotic musical play Dryden had written in 1684 but which he radically overhauled. The result was a work that appealed to the audience’s enthusiasm for fine costumes, lavish sets, ingenious stage machinery and a cast of singers, dancers and instrumentalists, containing vocal show-stoppers such as the imperishable ‘Frost Scene’ and ‘Fairest isle.’ This critically acclaimed staging uses a new performing edition by Rene Jacobs, and is sung in English with German dialogue. Bachtrack.com greatly admired the 2017 performance: “The singing cast- all of which played up to six parts each- were strong throughout Soprano Anett Fritsch marveled as Merlin’s trusty spirit Philidel and Cupido, her coloratura agile and light, her singing and speaking impressive both on stage and whilst airborne. Bass Johannes Weisser played a suitably repulsive Grimbald and convinced vocally in the Cold Genius’ staccato aria “What Ho,” Soprano Robin Johannsen and Altus Benno Schachtner delighted particularly during their touching love duet.”