The BBC Symphony Orchestra and Chorus under Oramo with an exceptional quartet of soloists give a vivid and heartfelt interpretation of Smyth’s earliest large-scale choral work. Dame Ethel Mary Smyth, DBE was an English composer and a member of the women's suffrage movement. Her compositions include songs, works for piano, chamber music, orchestral works, choral works and operas. Smyth tended to be marginalized as a ‘woman composer’, as though her work could not be accepted as mainstream, yet when she produced more delicate compositions, they were criticized for not measuring up to the standard of her male competitors. She was the first female composer to be granted a damehood. Smyth's extensive body of work includes the Concerto for Violin, Horn and Orchestra and the Mass in D. Her opera The Wreckers is considered by some critics to be the "most important English opera composed during the period between Purcell and Britten." Another of her operas, Der Wald, mounted in 1903, was for more than a century the only opera by a woman composer ever produced at New York's Metropolitan Opera (until Kaija Saariaho's L'Amour de loin in December 2016).

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REVIEW:

With all the awareness of the need to promote female composers it is surprising that no national opera company has taken up Ethel Smyth’s masterpiece The Wreckers. This new recording of the overture reminds us of just what a splendid work it is.

The bulk of the new recording is given over to the Mass in D, which is an exultant outpouring, here given its head by the BBC forces under a conductor who seems to have an innate understanding of the British musical temperament.

– Lark Reviews

Classical Music

Classical Music

William Vincent Wallace may not be a household name to today’s music-lovers but from 1845 until the end of the 19th century he was very popular as an operatic composer. He is not completely forgotten, however, and I knew at least an excerpt from his first opera, Maritana, from a Joan Sutherland record. On Marco Polo there is also a complete recording of the opera. Excerpts from Maritana coupled with music from a couple of other roughly contemporaneous British operas are available on EMI and on the Australian label Melba Deborah Riedel sings several Wallace arias plus others by Balfe, Faraday and Sullivan. Ms Riedel was scheduled to sing the role of Ghiva on the present recording of Lurline but died before the project could be carried through. The recording is dedicated to her memory.

The libretto is based on the legend of Lorelei, the 132 metre high rock on the eastern bank of the Rhine. In Heine’s poem Die Lore-Ley a kind of siren sings from the outcrop and distracts shipmen so that they crash into the rock. In this opera she falls in love with a human being, a young nobleman. When the River King hears this he knows that this will lead to her death. How the story ends I won’t reveal, which is a sneaky way of forcing readers to buy these two discs to find out.

And it is worth the moderate costs, since the music is wholly agreeable and the singing and playing, despite some blemishes, on a quite high level. The performing edition is by Richard Bonynge, who has done great things in dusting off long-forgotten operas and giving them a new lease of life. One can at once in the long overture hear that Wallace was a skilled orchestrator. The opening is an atmospheric description of a moonlit night on the Rhine, but the music becomes both lively and dramatic. When the imaginary curtain rises we are exposed once more to a serene and beautiful orchestral introduction, which is also woven into the recitative that follows and sung at the end before the aria.

So what does the music sound like? The easiest way of describing it is to see it as a forerunner of Sullivan. In a blindfold test I am sure many listeners would believe some of the melodies to be from one of the Savoy operas. Ingratiating and easy to hum they could comfortably command a place in any programme of light opera and operetta. What is missing is perhaps the tongue-in-cheek quality of some of Sullivan’s best creations and the glint in the eye. On the other hand the story doesn’t exactly cry out for such qualities. There are also several rousing choruses that remind me of G&S and the act finales are skilfully structured to rise to slap-up climaxes. In particular it is in the second act that Wallace’s inspiration flows at its richest. Take the opening chorus (CD 1 tr. 19) or the Sullivanesque Chorus From his Palace of Crystal (CD 1 tr. 22). Rupert’s aria Sweet form (CD 1 tr. 23) is lovely and somewhat later Ghiva’s song Gentle Troubadour (CD 2 tr. 2 is catchy. Rhineberg’s The nectar cup may yield delight in ¾ time (CD 2 tr. 5) is another hit. No wonder it was such a success in the 1860s.

Act III also has several highlights. Rupert’s ballad (CD 2 tr. 13) again recalls G&S and Lurline’s Grand Scena (CD 2 tr. 18) should be a dream number for any high soprano. The prayer, in particular, is noble and beautiful. The final scene opens with a riveting chorus (CD 2 tr. 22) followed by a long duet between Rupert and Lurline. In the ensemble that concludes the opera Lurline returns to her opening solo in act I but now heavily embellished.

Sally Silver in the title role has a bright lyrical voice, sailing effortlessly up in the highest reaches of the soprano register. She negotiates the coloratura passages with supreme ease. Hers is a most sensitive reading of a role that is both other-worldly and deeply human. Veteran Keith Lewis, best known perhaps as a stylish Mozart singer, makes the most of Rupert’s role, nuanced and sensitive, but today his beautiful voice is afflicted by a disfiguring wobble on sustained notes. This is, however, compensated for by his ravishing pianissimo singing. The end of his air (CD 1 tr. 23) is excellent proof of his ability. David Soar is a powerful and intense Rhineberg but slightly strained at times. Donald Maxwell, another veteran, is a splendid Baron Truenfels and even better is Roderick Earle as the Gnome. Try CD 1 tr. 27 for proof. Fiona Janes is a vibrant and expressive Ghiva. The orchestral and choral forces are splendid under Richard Bonynge’s experienced leadership.

There is a synopsis in the booklet but the libretto - including the original stage directions shown in the 1860 libretto - can be bought separately.

Victorian Opera Northwest, which ‘was formed to promote the excellent music found in the operas and operettas of forgotten 19th Century British and Irish composers has certainly lived up to their aim. Together with Naxos they have enriched the operatic CD-catalogue. Maybe not a dramatic masterpiece but all lovers of 19th century opera, and lovers of good melodies should hasten to add this set to their collections.

-- Göran Forsling, MusicWeb International

Making their recording debut on Resonus Classics is Sonoro, one of the UK's newest and most impressive chamber choirs, founded in 2016 by Neil Ferris and Michael Higgins. Noted for their warmth of tone, rich blend of colours and vibrancy in performance, for their first recording Sonoro presents sacred music by Frank Martin and James MacMillan, with a programme featuring Martin's iconic Mass for Double Choir and a selection of works from MacMillan's considerable contribution to the choral repertoire, including his powerful setting of the Miserere. Sonoro's distinctive sound has propelled the ensemble to secure engagements from some of the UK's most prestigious venues and promoters, including the London Chamber Music Series at King's Place, and the Wimbledon International Music Festival. Sonoro has also performed live on BBC Radio 3 'In Tune' and been featured on London Live television. The choir's unmistakably rich and full sound has been realized by allowing each singer to be free to use all of their voice, matched with careful blending, creating warmth and resonance.

For most listeners, even those experienced with Christmas choral collections, the majority of original works and arrangements on this program will be unfamiliar. And that turns out to be a good thing—the selections are diverse enough yet compatible and complementary in style, all set with a sensitivity to text, to the spirit of the occasion—whether celebratory or contemplative—and, importantly, to singability and listenability.

So many Christmas collections in recent years, for some reason mostly from British choirs, have to their credit highlighted new music—but much of it unsingable by any but the most accomplished ensembles, and so difficult for the ear to reconcile alongside starkly more “accessible” works that the listening experience becomes uneasy and even intermittently unpleasant. Which is why I warily listened to the first several selections here—and found myself thoroughly and continuously surprised as the disc progressed. Here is a choral Christmas program that you can listen to straight through without fear, combining the delight of discovery—new composers, new music and texts, new arrangements of traditional carols—with the comfort and joy of a few beloved, favorite, familiar anchors, from Joubert’s There is no rose and Howells’ A spotless rose, to Warlock’s Bethlehem Down.

Beginning with Malcolm Archer’s A little child there is yborn, its bouncy, jovial character reminiscent of a John Rutter setting, the program progresses through a wide array of traditional texts and sometimes tunes—The angel Gabriel; In the bleak midwinter; Tomorrow shall be my dancing day; The Holly and the Ivy; Coventry Carol—but in inventive and always agreeable new realizations by composers and arrangers such as Paul Spicer (whose In a Field as I Lay is a highlight), Gareth Treseder (Blessed be that Maid Marie—another gem), Michael Higgins, Becky McGlade, Betty Roe, and Sally Beamish. And it doesn’t hurt that the singing by the 17 voices of Sonoro—yes, a professional British chamber choir—is consistently well-tuned, perfectly balanced, and projects a vibrant, characterful sound that gives the impression of concert-like spontaneity—a rare and welcome effect on a recording. The sooner you get this the more time you’ll have to listen. Highly recommended.

– ClassicsToday.com

Gorgeous and poignant music, performed with wholehearted fervor by an excellent choir.

This will turn out to be, I am sure, one of my favorite recordings of 2012. I first came upon Jonathan Dove’s music on a Hyperion recording of his sacred music, featuring the Wells Cathedral Choir, conducted by Matthew Owens (2010). Over the last year I have occasionally returned to that CD, each time coming away more impressed by Dove’s writing. This new CD has only confirmed and strengthened that impression.

The recording opens with The Passing of the Year, a song-cycle written for double chorus and piano, dedicated in memory of Dove’s mother. The work, which is made up of seven movements divided into three main sections, takes the listener literally and metaphorically through changing seasons. Thankfully, Naxos does not follow its increasingly common practice of making the listener go to its website to search out the texts though they can be found here. Listening with the poetry at hand only increased my admiration for Dove’s sensitive text setting.

The work opens with Invocation, the voices repeatedly singing “O Earth, return!” with an ever increasing intensity. This leads into an extended setting of William Blake’s The narrow bud opens her beauties to the sun, that features contrasting textures of soloist versus choir and high versus low voice to convey the idea of “Summer breaking forth.” The third movement sets Emily Dickinson’s Answer July as a call and response between female and male voices that perfectly captures the playfulness of the text. Movement 4 begins the second section begins with Hot Sun, cool fire, a setting of words by George Peele that uses slowly shifting dissonant chords to evoke how difficult it can be to breathe, let alone move, on a brutally hot summer day. The cycle’s emotional climax is found in Movement 6, a setting of Thomas Nashe’s Adieu! Farewell earth’s bliss. Over an ostinato that bares a passing resemblance to the final minutes of Stravinsky’s Symphony of Psalms, one of the choirs intones “Lord, have mercy on us,” as the other choir sings, in achingly beautiful harmonies, about the inevitability of death.

Three times these competing choral textures break off so that all voices can join together in singing “I am sick, I must die”. Even after listening several times, Dove’s setting leaves me shaken. The sadness of that movement is effectively dispelled by the final Ring out, wild bells, a passage from Alfred Lord Tennyson’s In Memoriam that speaks of the promises found in the beginning of a New Year.

The rest of the program is just as impressive as the Song Cycle, and displays a greater variety of musical styles, including a solo for mezzo-soprano (My love is mine), three songs for upper voice/women’s choir (It sounded as if the streets were running). The CD is rounded out with Advent and Christmas music, including The Three Kings, written for Festival of Nine Lessons and Carols at King’s College, Cambridge.

Dove’s music is impressive, with attractive melodies and tonal harmonic writing. Nevertheless, he is not afraid to use dissonance when it more strongly projects and expresses the text, and his writing displays a particularly strong skill in creating onomatopoeic effects. When I began my listening, I thought it would be helpful to note where Dove’s writing seemed reminiscent of other composers’ work. Sometimes the piano writing, which often uses ostinato figures, reminds me of the minimalists Steven Reich and John Adams. A few of Dove’s melodies soar in a way that recalls Samuel Barber. Answer July brings thoughts of Benjamin Britten’s “Ballad of the Green Broom” from Five Flower Songs. I share these comments not to suggest that Dove is in any way a derivative composer, but rather to express how highly I rate his work. Dove is very much his own man, with masterly word setting that reminds me most strongly of Benjamin Britten and, on this side of the Atlantic, Libby Larsen.

Dove receives the strongest advocacy from his performers. The Convivium Singers, under the assured direction of Neil Ferris, display admirable control of the long line and excellent intonation. I find the balance to be a bit dominated by the women’s voices, and would not have minded a few more men in each section. But the balance never detracted from my immense enjoyment of this recording. Accompanist Christopher Cromar’s playing is splendid, self-effacing virtuosity that serves the choir and the music.

I urge you to purchase this CD as quickly as possible. It is gorgeous and poignant music, performed with wholehearted fervor by an excellent choir, all at budget price.

– David A. McConnell, MusicWeb International