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tackled Swedish folk and classical<br />
songs, music of Elvis Costello as well<br />
as plethora of operatic roles and traditional<br />
lieder. She is, to my knowledge,<br />
the only mezzo-soprano to<br />
record a song by ... ABBA and make<br />
it a revelation. In ;, Music for a<br />
While", it's early baroque music that<br />
receives the "von Otter" treatment.<br />
Frescobaldi. Caccini, Monteverdi,<br />
Purcell and Dowland of course do<br />
not present a challenge for von Otter.<br />
It's her versatility that makes this<br />
remarkable disc less than perfect.<br />
Her beautifol and powerful voice<br />
does not easily conform to the strict<br />
standard of the epoque. Rather than<br />
throw a vocal dart at the notes, von<br />
Otter brushes over them with broader<br />
strokes, allowing for a round, unrestrained<br />
sound. This minor quibble<br />
aside, the disc is a beautiful collection<br />
of great performances.<br />
As mentioned before, we do not<br />
really know what the singers of the<br />
Baroque sounded like. Just as the<br />
entire period performance ·movement,<br />
the "baroque singing" is a<br />
conjecture, albeit based on meticulous<br />
musicological research. One<br />
can only hope that Bach, Haendel<br />
and Monteverdi had the benefit of<br />
singers as talented as these three<br />
remarkable vocalists.<br />
Robert Tomas<br />
Bach - Mass in B Minor<br />
The King's Consort; Robert King<br />
Hyperion CDD22051<br />
Judging by his extensive program<br />
notes Robert King is intimately familiar<br />
with the breadth and sonority<br />
of this inspirational masterpiece by<br />
Bach. Using a men-and-boys choir<br />
in this 1996 recording, he follows<br />
historical precedents as Bach did not<br />
use women's voices in any of his sacred<br />
compositions. As to be expected,<br />
there are a few moments that are<br />
somewhat less refined or graceful<br />
as a result, but still the brilliant tone<br />
of the•boy sopranos and altos of the<br />
Tolzer Knabenchor offers great<br />
clarity and definition to the counterpoint.<br />
The listener is also compensated<br />
with disciplined, freshly enthusiastic<br />
and astonishingly mature performances<br />
from these young fellows.<br />
The tiuid lyricism of tenor Anthony<br />
Rolfe Johnson and the bold baso<br />
of Michael George were perfectly<br />
suited for their respective solos.<br />
Carefully conceived in every<br />
phiase, nuance, and dynamic, maestro<br />
King has crafted a beautifully<br />
detailed performance in which the<br />
dancing lilt of the Gloria in excels is<br />
Deo, the sobbing mournful Crucijixus,<br />
the triumphant Et resurrexit,<br />
even the break-neck tempo of Cum<br />
Sancto Spiritu, seemed to make perfect<br />
sense. If Bach heard this, I think<br />
he would have approved.<br />
Frank Nakashima<br />
Mozart: La finta semplice<br />
Helen Donath, Teresa Berganza,<br />
Anthony Rolfe-Johnson,<br />
Thomas Moser<br />
Mozarteum-Orchester<br />
Salzburg; Leopold Hager<br />
Brilliant 92345<br />
Mozart: La finta giardiniera<br />
Elzbieta Szmytka, Joanna<br />
Kozlowska, Marek Torzewski<br />
Orchestre du Theatre Royal de<br />
la Monnaie; Sylvain Cambreling<br />
Brilliant 92348<br />
Mozart: Lucio Silla<br />
Lella Cuberli, Ann Murray,<br />
Christine Barbeaux, Anthony<br />
Rolfe-Johnson<br />
Orchestre du Theatre Royal de<br />
la Monnaie; Sylvain Cambreling<br />
Brilliant 92343<br />
Mozart: Mitridate, re di ponto<br />
Francine van der Hayden, Cecile<br />
van de Sant, Johannette Zomer,<br />
Marcel Reijans<br />
Musica ad Rhenum; Jed Wentz<br />
Brilliant 92344<br />
Mozart: Ascanio in Alba<br />
Nicola Wemyss, Claron<br />
McFaddon, Claudia Patacca,<br />
Maaike Beekman, Tom Allen<br />
Vocaal Ensemble Coqu;<br />
Musica ad Rhenum; Jed Wentz<br />
Brilliant 92347<br />
Mozart: II re pastore<br />
Johannette Zomer, Francine<br />
van der Hayden, Alexei<br />
Grigorev, Marcel Reijans<br />
Musica ad Rhenum; Jed Wentz<br />
Brilliant 92342<br />
Mozart: II sogno di scipione<br />
Claron McFadden, Claudia<br />
Patacca, Franc;ois Soons,<br />
Marcel Reijans<br />
Capella Amsterdam;<br />
Musica ad Rhenum; Jed Wentz<br />
Brilliant 92346<br />
There is enough splendid music in<br />
these early operas alone to count<br />
Mozart as a great operatic .composer.<br />
Recordings cai;i be hard to<br />
find and expensive. But you can buy<br />
all three discs in the budget label<br />
Brilliant's Mitridate for less that the<br />
price of a single disc in Rousset's<br />
star-studded recording.<br />
La finta semplice, written when<br />
Mozart was twelve, is a light-hearted<br />
comedy about a woman pretending<br />
to be a simpleton. The experi,,.<br />
enced Leopold Hager leads some top<br />
Mozart singers of the day in a delightfully<br />
stylish, if unexciting, reissue<br />
from 1983. Recitatives are stilted,<br />
and the orchestra plays down the<br />
character of the score. But there<br />
is some terrific singing, especially<br />
from.Helen Donath as the 'feigned<br />
simpleton' of the title, Anthony Rolphe-Johnson<br />
as the real simpleton<br />
and Teresa Berganza as the vivacious<br />
love-interest who drives the<br />
very silly plot.<br />
The plot of La jinra giardiniera<br />
is even sillier. Mozart was ten<br />
when he wrote it. But it is studded<br />
with gorgeous arias like "Crudeli<br />
fermate", sung here with fiery intensity<br />
by Joanna Kozlowska as the<br />
'feigned garden girl' of the title. She<br />
is pursuing her lover, who has<br />
stabbed her and run off, leaving her<br />
for dead. As the playfully appealing<br />
servant-girl, Elzbieta Szmytka is<br />
charming in her mood changes from<br />
poignant despair to hope. But the men<br />
here are an unexciting lot in this live<br />
performance made in 1989 at La<br />
Monnaie in Brussels with their expert<br />
orchestra under a responsive Sylvain<br />
Cambreling.<br />
Lucio Silla was recorded at La<br />
Monnaie under Cambreling four<br />
years earlier with the same sensitive<br />
pacing, but unfortunately the<br />
same intrusive stage noise and<br />
coughing. Again the cast is uneven,<br />
with some sublime singing. The<br />
duet "D'Ellisio in sen" with the lovely<br />
Ann Murray and a scintillating<br />
Lella Cuberli is one of the highlights<br />
of this whole group of discs.<br />
The four recordings led by Jed<br />
Wentz are recent. Wentz uses his<br />
OTE CO<br />
On location recordings of jazz and classical music<br />
Twenty years of live recording for public radio<br />
William Van Ree<br />
phone: 416 694 3505<br />
97 Highview Avenue<br />
cell: 416 452 6623<br />
Scarborough ON<br />
www.williamvanree.com<br />
M1N2H6<br />
william@williamvanree.com<br />
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APRIL 1 - MAY 7 <strong>2005</strong> WWW. THEWHOLENOTE.COM