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“sensuously beautiful in the most refined andfastidiously decorous way, but thoughtless.”Shaw was willing to set Elijah next to the“seraphic,” not religious, music of Gounodbut could not find more in it than “exquisiteprettiness.” Parsifal, Die Zauberflöte,Beethoven’s Ninth Symphony and the best ofBach and Handel were adduced as contrasts.In recent years interest in Elijah has revived(there are now 25 recordings available), aslisteners have begun to consider the workon its own merits, not as a pale imitation ofHandel’s oratorios or Bach’s Passions.The CDs under review constitute are-release; the music was recorded in 1994and the discs were first released soon afterwards.There is stiff competition from twoearlier recordings, which both date from1968: the Rafael Frühbeck de Burgos (avery dramatic reading with Janet Bakersuperb in the alto arias) and the WolfgangSawallisch (with Elly Ameling, Peter Schreierand Theo Adam as Elias). It stands up well,both because of Rilling’s conducting andthe quality of the singing. The soloists areChristine Schäfer, soprano, Cornelia Kallisch,alto, Michael Schade, tenor, and baritoneWolfgang Schöne as Elias.—Hans de GrootTutto Verdi – Un ballo in mascheraFrancesco Meli; Vladimir Stoyanov;Kristin Lewis; Elisabetta Fiorillo;Serena Gamberoni; Teatro Regio di Parma;Gianluigi GelmettiCmajor 724208!!By age 46 theworld famous Verdihad many triumphsbehind him, butall was not smoothsailing. His opera onthe subject of regicidewas strenuouslyobjected toby the Neapolitancensors and he simplycancelled in disgust.Verdi was taken tocourt, but went to Rome instead; changedthe setting and the protagonist to a mereGovernor in remote colonial North Americaand thus the opera, Un ballo in maschera waspremiered and succeeded.This is a wonderful performance, oneof the finest in this Tutto Verdi series ofthe complete operas. Conductor GianluigiGelmetti is an unlikely looking gentleman atfirst glance but at his first wave of the batonone realizes he is a master. His upbeat tempihave a big sweep that gives the opera the brillianceVerdi intended. The tenor, FrancescoMeli (Riccardo), is a young fresh voice,powerful and sensitive; the baritone, VladimirStoyanov is beginning to take over fromthe venerable Nucci in the series. His voiceis powerful, well shaded, his acting puts amenace into his Renato and we commiseratewith his agony of being a betrayed husband.Serena Gamberoni’s Oscar is a delight — astunning beauty, her voice supple and flexible,she moves like a real opera star! AnAmerican from Arkansas, Kristin Lewis is apassionate Amelia with power, secure in hertop notes. Elisabetta Fiorillo (Ulrica), an oldtimernow with an alto range, makes a strongimpression as the wise and not at all wickedsoothsayer.About the scenery: it’s simply eye-poppingand stunning, with grandiose highly artisticarchitecture, monumental creations andgorgeous colouring.—Janos GardonyiEditor’s Note: Next month’s WholeNote willfeature an extended article by Janos Gardonyiin honour of the bicentennial of Verdi’s birthon October 10, 1813.George Benjamin – Written on SkinBarbara Hannigan; Bejun Mehta;Chrisopher Purves; Rebecca Jo Loeb;Allan Clayton; Pierre-Laurent Aimard;Mahler Chamber Orchestra;George BenjaminNimbus Records NI 5885/6!!Written on Skinwas a hit right fromthe first performancesat the 2012 Aix-en-Provence festival,where this recordingwas made. The hardhittinglibretto byBritish playwrightMartin Crimp involves murder, cannibalismand suicide, while the riveting score by fellowBrit George Benjamin includes some of themost sexually charged passages in opera sinceShostakovich’s Lady Macbeth of Mtsensk.Yet the action unfolds subtly, in a series ofintimate conversations, while the diaphanousmusic, with its silky colours and angulartextures, avoids sensationalism altogether.Canadian soprano Barbara Hannigandazzles as the passionately defiant Agnès. Herhusband, the oily, malevolent Protector, ismasterfully portrayed by baritone ChristopherPurves. Counter-tenor Bejun Mehta isthrilling as the Boy, an itinerant artist.Though the story is set in the MiddleAges, characters occasionally step into thepresent to “snap the dead back to life.” Sothe Boy imagines how a forest where he istaking refuge will be covered by “eight lanesof poured concrete” in a thousand years.Moments like these resonate powerfully. Lesseffective is when the characters slip into thethird person to narrate their own story, or,especially, when the Boy turns up as one of thebusybody 21st century angels. Their chillingpresence may be provocative as a poeticdevice, but it does interfere with the drama.A bonus, Benjamin’s imaginative Duet forpiano and orchestra, featuring pianist wizardPierre-Laurent Aimard, adds to the manyreasons to enjoy this terrific recording.—Pamela MarglesLa Voix Nue – Songs for UnaccompaniedVoice by Living ComposersPatricia GreenBlue Griffin Records BGR279bluegriffin.com!!An entire disc ofunaccompanied vocalworks is a courageousundertaking for asinger, as the selectionand performanceof repertoire as well asits pacing and placementmust engagethe listener from start to finish. In addition,the singer must execute absolute precisionof pitch while effectively conveying dramaticcontent. The beautiful, rich, warm tone ofPatricia Green’s voice, combined with herdramatic sensibilities and skilful musicianship,is perfect for this collection of songsby living composers. These pieces, thoughmodern, for the most part draw on historicalmaterial with texts from Shakespeare,Norwegian history, Ovid, Native legend,5th-6th century aphorisms and surrealistFrench poetry.As a committed performer of new music,Green is highly attuned to the intention ofcomposers and respectfully steps out of thestudio to delightfully make an exception toher solitude, allowing the accompanimentof birdsong for the excerpt from R. MurraySchafer’s Princess of the Stars. Another interestingand iconic work, King Harald’s Sagaby Scottish composer Judith Weir, highlightsGreen’s dramatic flare, featuring a mixtureof narrative and interchanging roles, each ofwhich is given its own characteristic voice.Hillary Tann’s dramatic song cycle Arachne,in which an apprentice weaver takes ahaughty stance with her teacher Athene andpays dearly for it, gives Green yet anotheropportunity to characterize more than onevoice. The same again for Jonathan Dove’ssetting of Shakespeare’s Tempest verses inAriel. A couple of eclectic cycles by JoséEvangelista and György Kurtág provide thesinger a chance to exhibit a light and playfulair, most charming indeed.—Dianne WellsCLASSICAL & BEYONDO’Riley’s LisztChristopher O’RileyOxingale OX2020oxingalerecords.com! ! This wonderful pairof CDs is the perfectchoice for avid loversof the piano and itsorchestral sound.The Lisztian virtuosicexcess is like havinga meal of rich overwhelmingtextures62 | September 1 – October 7, 2013 thewholenote.com