December has arrived and that means it is time to buy holiday presents for people you care about. Singers are notoriously poor, having to spend most of their money on lessons, coachings, scores and such. If stressed resources limit your gift-giving ability, how about a self-contained, one-act opera? Or an unusual recital or concert disc? I find that one of the great pleasures in life is the discovery of a “new” work, or at least a work new to me. And with the schedules we all have, sometimes a shorter work is just right for our listening time frame. You might be surprised at the diversity available; here are a few suggestions.
Most singers know about the typical one-act operas like Cavalleria, Pagliacci, Le Villi, Suor Angelica and the rest of Puccini’s Trittico. All of which, by the way, make great gifts. But here are a few others you might have forgotten.
Bartok: Bluebeard’s Castle
(Decca CD 443 571-2 or Sony MK44523)
OK, so it’s a bit dark, but what a beautiful, complex and fascinatingly seductive score. Its appeal spans many differing musical tastes. There are at least eight CD versions but I find I still favor two: The classic 1965 Berry/Ludwig pairing on Decca and the Ramey/Marton on Sony. I like the Ramey set mainly because it conjures up memories for me of the impact of Sam Ramey’s beautiful, fruity timbre in this music during his 1989 Met performances, but also because Eva Marton is richly dramatic. On the other hand, the (then) husband/wife team of Christa Ludwig and Walter Berry is hard to beat. Spaciously recorded, the recording has an immediate, frosty atmosphere. Ivan Kertesz leads the excellent London Symphony, and the two leads have an obvious connection that provides some unusual chills. Both offer haunting performances. Has anyone equalled Ludwig’s shock when the fifth door is opened? (Certainly few have matched her glorious high C at that moment.)
Stravinsky: Le Rossignol
(Testament SBT 1135, EMI 56874)
Here is another modern work, but one completely different in tone than the previous opera. Although a bit uneven – it was written during two distinct segments of the composer’s output – there is an exquisite delicacy to much of this score, an airiness that is like a breath of warm summer wind. At least 4 recordings are available, but, as with the Bartok, I favor two. The Testament reissue is of the classic 1956 French version (originally an Angel LP) conducted by Cluytens with Janine Micheau as a lyrical Nightingale and Jean Giraudeau as an elegant Fisherman. Testament fills out the disc with rare songs of Delage sung by the now mainly forgotten but wonderful Martha Angelici (Leila on the early 1955 Angel LP recording of Bizet’s Pecheurs de Perles.) But I also like the most recent recording conducted by James Conlon (anything conducted by him is worth owning). Natalie Dessay is an easy, virtuosic Nightingale and Vsevolod Grivnov is a mellifluous Fisherman. This disc is filled out with Stravinsky’s Renaud with Ian Caley. Strauss: Der Friedenstag (Koch CD LC6644)
For those of your friends who you think might enjoy Richard Strauss, I suggest this recording made at the November 19, 1989 Carnegie Hall performance with conductor Robert Bass and a young Alessandra Marc. Veteran artist George Shirley and Roger Roloff make strong contributions, as does the enthusiastic Collegiate Chorale. An unusual and rarely recorded work, it is a real treat. The massive solo/choral conclusion (somewhat reminiscent to the finish of the Beethoven 9th) is a remarkable tour de force and is given a stellar performance.
Recitals:
The Schwarzkopf and Fischer-Dieskau recordings of the song literature are absolutely indispensable to any student trying to get a grasp on the rich repertoire of the Lied, but how about something a bit more unusual? Most singers are familiar with Lotte Lehmann’s indispensable book: Eighteen Song Cycles. But how about her complete recording of Schubert’s Die Winterreise? (Pearl GEM0033) It was a daring move on her part back in the early 1940s, and now a remarkable listening experience. It proves that Lehmann practiced what she preached in her book.There is a wonderful Carnegie Hall Recital of Jussi Bjoerling (March 2, 1958) which is now on BMG CD (60520-2-RG) An exquisite collection of songs by Schubert, Beethoven, Brahms, Strauss, Rachmaninov, Tosti, Swedish and Norwegian composers as well as arias from Tosca, Rigoletto, Onegin, Turandot and Verdi’s Requiem. I confess that I consider all of Bjoerling’s recordings very special, but this one has added appeal.Another great tenor, Carlo Bergonzi, can be heard in a concert of Verdi arias from Amsterdam in 1973. Rather than the usual hackneyed repertoire, Bergonzi offers arias from Giovanna D’Arco, Due Foscari, Attila, Luisa Miller and Forza. Available on Gala CD (GL 326), this one will cost you about $5.00 and will pay for itself before your friend has finished listening to it the first time. Of special note is the filler — a long excerpt from a 1967 Aida Nile scene with Leontyne Price and Robert Merrill (from the Met). Thomas Schippers conducts, and it is pure magic. That scene alone is worth 3 times the cost of the CD.There is another Gala CD of particular interest — a Luciano Pavarotti recital (Salzburg,1976) with filler from a joint concert with Ingvar Wixell (San Francisco,1975). This CD (GL 331) captures both men in their prime and provides many unforgettable moments. For those who cannot find Gala CDs in their local stores, go online to Towerrecords.com. (Go to the Annex section and under labels search for Gala.) There are also worthwhile Gala CDs of Gigli, Lanza, Callas, Leontyne Price (a phenomenal Munich concert) and many other artists. The label may be budget, but the presentation is first rate.
Along the same lines — but slightly to the side — how about the recently released album of Opera Arias and Duets with Mario Lanza? (BMG 09026-63491-2). The passing of time often occludes the fact that this was a glorious, natural voice. Hearing Lanza full throttle in arias from Chenier, Boheme, Turandot, Otello, Fedora, Aida — and more — packs a wallop not easily forgotten. For those who love the male voice and especially tenors, this collection is an absolute must. Now if you can’t decide between any of the above, but still want to give something fun and unique there is a wonderful set of highlights from Strauss’ Die Fledermaus (BMG 09026-63468-2) (sung in a ridiculous English translation). This was originally from RCA’s series of opera highlights (most of which, unfortunately has not been released on CD). Recorded in Vienna in 1963, it offers an all-star cast including Anna Moffo as a sensuous and vocally agile Rosalinde, Jeanette Scovotti as a sparkling Adele, Risë Stevens as a campy Orlofsky and George London, Richard Lewis and Sergio Franci turning in strong contributions. The entire cast is as feisty as the conductor, Oscar Danon. This is a disc that will bring good cheer to any gathering. Raise a glass of champagne and toast the New Year. Here’s hoping that it is one of health and prosperity for us all.
