RACHMANINOV: Complete Piano Works (Idil Biret)

Rachmaninov: 13 Preludes, Op. 32 / Liebesleid and Liebesfreu

After composing a spectacular series of grand operas for the Paris Opéra, Meyerbeer turned to two comic operas with spoken dialogue. One of these was L’Étoile du Nord (‘The North Star’) which is strictly an opéra de demi-caractère, containing both comic and serious elements. This fusion was one of Meyerbeer’s most important contributions to the development of grand opera. The plot is a peculiar mixture of village wooing and military life, with music that is full of color, featuring superb choruses and exceptional orchestration. This 1996 Wexford Festival Opera production features a dazzling young cast under the direction of Vladimir Jurowski.

Meyerbeer had already won renown in Italy before conquering Paris with a sequence of much-acclaimed grand operas. In a musical climate dominated by Rossini, Meyerbeer’s first Italian opera, Romilda e Costanza, earned the still-unknown 26-year-old composer the sobriquet of ‘the genius of the Spree’. The work is a rescue opera overlaid with a love triangle, which was written for specific performers, and the passionate intensity of feeling – from lyricism to unfettered virtuosity – reflects the semi seria nature of the opera. It is performed here in the original version heard at the 1817 premiere. In 1996 Luciano Acocella won the International Prokofiev and Dimitri Mitropoulos conducting competitions which led to his appointment as assistant to Daniele Gatti. He has conducted extensively across Europe, Asia and the US to critical acclaim. He was general music director of the Opera de Rouen-Haute Normandie between 2011 and 2015. At the Rossini in Wildbad festival he has conducted Le Comte Ory and the acclaimed Naxos recordings of Adelaide di Borgogna (8.660401-02) and Demetrio e Polibio (8.660405-06).

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REVIEW:

This production from the 2019 Rossini in Wildbad Festival in Germany being its first outing in modern times. A little complex, the story was the familiar love triangle between the two women, Romilda, and Costanza, the object of their love being Teobaldo. There is much for Costanza to sing, which sorely tests the vocal stamina of the German-based soprano, Luiza Fatyol, Meyerbeer only offering Romilda one major aria, and not until late in the second act. It is beautifully sung by the mezzo soprano, Chiara Brunello. The part of Teobaldo requires a high tenor, Patrick Kabongo, more than equipped for those taxing passages, while the weighty voice of the baritone, Javier Povedano, as Retello, fills out the ensembles. From Poland, the Passionart Orchestra falls something short of the very high quality we have come expect from the festival’s orchestras. It is a pity the interrupting applause was not removed in a very good recording from South-West German radio.

– David's Review Corner (David Denton)

Auber earned international adulation in the late 1820s for his revolutionary grand opera ‘La Muette de Portici’ and by the time he composed ‘La Sirene,’ the success of which inspired potpourris of its melodies, he occupied a central place in French musical life. The mysterious siren of the title is part of a plot that abounds in fantastic comedy, love, betrayal, farce, and festivity in the lineage of Italian popular theatre. The German poet Heinrich Heine wrote that “La Sirene was received with resounding bravos… The author and the composer know how to amuse us agreeably, and even to enchant us, or to dazzle us by the luminous facets of their spirit.”

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REVIEW:

The performances on this premiere recording are modest but engaging and entertaining as well. David Reiland secures bright and breezy playing from his appropriately named Orchestre des Frivolités Parisiennes. Jeanne Crousaud doesn’t quite live up the idealised Siren of the title but sings with charm, as do the two tenors, Xavier Flabat and Jean-Noël Teyssier. The lower men’s voices sing characterfully, as do Les Métaboles, even if some of their contributions get a little lost in the rough-and-tumble.

– Gramophone

With its carefully planned yet complex dramatic structure and skillful transformation of a tale of heroic conflict between two enemies into a drama of impossible love, Maometto II is considered Rossini’s most radical and innovative opera. Against the background of the violent and cruel tumult of war as the Venetian colony of Negroponte is invaded and defeated by Sultan Mehmet II ‘the Conqueror,’ in 1470, Rossini contrasts this clash of civilizations with the tender emotions of a doomed romance expressed in some of the most beautiful melodies he ever wrote. Heard here in its original Naples version- the more conventional 1822 Venice version with its overture and happy ending can be heard on a separate Naxos recording- this is a movingly tragic drama in which the suicide of the main female role is not without a grim relevance even today.

Blindekuh ('Blind Man's Buff') was Johann Strauss II's sixth operetta and his least known. Neglected for well over a century, it was revived by Dario Salvi and the forces on this album in January 2019. The work's initial lack of success is hard to explain but it may have been caused by a confusing libretto - the music itself is vibrant and captivating with waltzes, polkas, mazurkas, marches and bel canto arias. Performed in a concert version without dialogue, and in accordance with performing traditions, this production restores the work to the status of one of Strauss' most melodically seductive works. Dario Salvi is a Scottish-Italian conductor, musicologist and researcher who specializes in the restoration and performance of rare works. Salvi has conducted symphonic works, opera and operettas across Europe, the Middle East and the US. His passion is the rediscovery and performance of long-forgotten masterpieces by the likes of Supp�, Meyerbeer, Rumshinsky, Gen�e, Auber, and many others. He is collaborating with Naxos on recording a series on Romantic ballets, including works by Minkus, Pugni, Adam and others, and a series on Auber's overtures and orchestral music. Two other important projects include recording the last three missing operas by Johann Strauss II and three never before recorded operatic works by Giacomo Meyerbeer.

Zelmira was the last opera Rossini wrote for Naples, knowing it would also be his calling card to Vienna where he had been assured performances. Keen to reconcile the alleged incompatibility between 'Italian' melody and 'German' harmony, Rossini employed exciting and daring harmonies and a raft of dazzling orchestral effects in this tragedy in which a daughter saves her father, the king, and her son, from usurpers to the throne. The opera was acclaimed wherever it was heard, and this recording presents the revised and triumphant Paris version.

First performed in 1865, Amleto ('Hamlet') represented a radical new development in Italian opera, the nuovo melodrama. Composer Franco Faccio and his librettist Arrigo Boito sought a greater degree of musical unity in staged productions and a more equal relationship between text and music. In Hamlet, a play that many then considered un-operatic, they found the perfect medium through which to explore the work's philosophical and dramatic power- not least the great set-piece scenes: Amleto's soliloquy 'Essere o non essere!" (To be or not to be), Ofelia's Mad Scene and the fight scenes- in a way that strikingly prefigures the verismo operas yet to come. This production premiered at the Bregenz Festival in June 2016; a film of the production followed on C Major, which won numerous accolades. This audio recording was made during the same performances. The production features an excellent cast with the title role taken by Pavel Cernoch.

Behzad Abdi's opera Rumi fuses traditional dastgah (the Iranian modal system) and the Persian Sama dance with Western classical music, and can be considered the first national opera of Iran. The libretto was written and conceived by the renowned Iranian theatre director and puppeteer, Behrouz Gharibpour, based on the life and writings of the 13th-century Persian scholar, poet, theologian and mystic, Jalal al-Din Rumi. The legendary story of Shams and Rumi is one of the most significant tales in the history of Iranian mystical literature and is brought vividly to life by the award-winning composer's exotic, lyrical and at times intensely dramatic score. Behzad Abdi (b. 1973) studied the setar and Iranian traditional music with Masoud Shoari and Mohsen Nafar and Western classical music with Liudmila Yurina and Vadim Juravitsky at the Tchaikovsky Academy in Ukraine. Abdi is the first composer to write Iranian opera. He is also a composer of film soundtracks and has won two awards at the Fajr International Iranian Film Festival, among others.

Following the French theatre tradition for spectacular biblical dramas during Lent, Rossini’s Moise was an incredible success at its Parisian premiere in 1827, and the opera is presented here in its complete form. Alongside power struggles and miracles, there develops a love story between Pharaoh’s son Amenophis and the Israelite Anai, though the main narrative is that of the Exodus from Egypt: Rossini’s riveting score with its spellbinding finales culminates in the parting of the waves of the Red Sea. In this single work, Rossini laid the foundations of grand opera, and it is widely considered to be among his greatest achievements.

Composed when Napoleon's armies were striding across Europe, Simon Mayr's highly charged opera I Cherusci is set in ancient Germania in the time of Christ's birth, it's narrative focusing on the perils of the captured slave girl Tusnelda who has been chosen for a sacrificial ritual. The universal themes of Freedom and patriotism in this pioneering tale of familial bonds, romance, jealousy and desperate misadventure would later attract the likes of Beethoven and Verdi. This world premiere recording of I Cherusci uses period instruments, presenting it as it would have been heard in 1808. The Simon Mayr Chorus was founded in 2003. The repertoire of the choir includes works from the 16th to the 20th century. A special emphasis is laid on authentic historical performance and on the promotion of music by Simon Mayr at the highest cultural level. Concerto de Bassus is an international ensemble engaging young musicians in historical performances of music from the 17th, 18th, and 19th centuries. Many members of the ensemble are outstanding students or graduates of the Hochschule fur Musik und Theater, with wind instruments constructed on historical principles. The ensemble takes it's name from the fundamental element of Baroque music: the Bassus.

Erich Wolfgang Korngold was at the height of his fame and technical mastery by the time he began work on his fourth opera in 1923. Prominent opera houses clamored to stage his works, and the Viennese premiere of Das Wunder der Heliane (‘The Miracle of Heliane’) featured Lotte Lehmann among its star cast. Its story is one of the redemptive power of love over injustice and adversity, expressed in music that is richly impressionistic and intensely dramatic. Korngold was criticized for resisting the tide of modernist atonality in this opulent score, but its symbolism and compelling romantic atmosphere can be appreciated today more than ever. This Freiburg Opera production has a strong cast topped by soprano Annemarie Kremer, one of the most successful singers in the lyric dramatic soprano repertoire. Award-winning baritone Aris Argiris has established an international career, performing regularly at the world’s most prestigious opera houses.

Mayr's Telemaco was a product of turbulent political times in the Republic of Venice, which had been occupied by Napoleon's troops in late 1796. Military elements, with incorporated marches, feature strongly in a score that brought to contemporary Venetian theatre many of the innovative elements that were in vogue on the operatic stages of Paris. Taking classical Greek mythological material, Mayr fashioned an opera full of colour, interweaving instrumental interludes and dances into his arias, cavatinas and choruses, and crafting his own very personal vision of the nwe Italian opera seria.

Ermanno Wolf-Ferrari's prolific early career succeeded in launching a fundamental renewal of opera buffa, offering a clear alternative to the dominance of Wagner and Puccini, while his Venetian upbringing inspired a songlike and lyrical style. With it's subtle orchestration and vivacious Mediterranean charm, Il segreto di Susanna ('Susanna's Secret') is a magical comic opera that became a box office success in it's day and remains one of Wolf-Ferrari's most frequently performed works. The early Serenade reveals his innate gift for inspired melody, expressing both carefree bliss and bitter melancholy.