evans mirageas
Evans Mirageas

Evans Mirageas casts the best of the best. He must have a sizeable Rolodex, lots of sky miles, and many professional contacts all over the world. Witness what happens in the upcoming Cincinnati Opera production of Richard Strauss’ Ariadne auf Naxos with dramatic tenor Kyle van Schoonhoven in the killer role of Bacchus, mezzo-soprano Olivia Vote, singing the pants off the pants role of the Composer, coloratura soprano Liv Redpath dispensing high E’s and F’s by the dozen, and the Mexican baritone Luis Alejandro Orozco summersaulting his way as Harlequin. These are all four red-hot talents, they  are young, good looking, and they are making their mark as singers-to- watch.

Getting ready for the opening of the Cincinnati Opera’s 99th season, which kicks off next week with Mozart’s The Marriage of Figaro, I am looking at the names of the singers starring in Mozart’s masterpiece and of those featured in the upcoming Romeo et Juliette, and in The Gershwin’s Porgy and Bess just around the corner… Again I am again reminded of what an uncanny knack Evans Mirageas has for discovering new talent, and for tapping into wonderful veteran artists.

The Cincinnati Opera’s Artistic Director has pleased quite a few other opera fans of my acquaintance again and again by bringing back to Cincinnati seasoned artists the likes of fast rising bass Morris Robinson and the silvery voiced soprano Nicole Cabell, nurturing them into Cincinnati favorites. That process takes time – just ask Robinson, who began singing here a few years ago as the Watchman keeping time for Wagner’s sleeping Meistersingers. This year the booming basso stars in the title male role in Porgy and Bess.

In the recent past we have celebrated rising young talents like the wonderful lyric baritone Joseph Lattanzi, one of the leads in last year’s Fellow Travelers and now starring as Count Almaviva in The Marriage of Figaro. In 2015, Andrea Mastroni, a young Italian bass impressed everyone within earshot in his both Cincinnati and American debut in the key role of Timur in Puccini’s Turandot. Within a year Mastroni was checking off in his calendar debuts at the MET and all over the map of Europe…

Cincinnati beats everyone to the punch time and again, as when it gave soprano Aileen Perez the starring role of Violetta in La Traviata before her warp-speed rise to international stardom at the MET and in Europe.

Evans Mirageas is also loyal to veteran artists who reside in Cincinnati. Witness his casting of the versatile bass-baritone Kenneth Shaw, a professor of voice at CCM, a busy singer, and a creative stage director, in the important part of Friar Laurence in Romeo et Juliette. Also note if you will the appearance of the multi-faceted bass-baritone Tom Hammons in the speaking role of the Majordomo in Ariadne auf Naxos. That’s a casting coup!

This mix of generations enriches the artistic product that is a hallmark of the Cincinnati Opera, something that Evans Mirageas does season after season by casting his artistic nets far and wide for his and our beloved Cincinnati Opera.

Rafael de Acha              http://www.RafaelMusicNotes,com


Ferdinando Paer’s AGNESE and Francesco Morlacchi’s TEBALDO E ISOLINA both recently released respectively by DYNAMIC and SWR by way of NAXOS are both obscure operas.

AGNESE dating back to 1809 was for several years as popular an opera as any in its time, getting first rate productions all over Europe. Morlacchi’s TEBALDO E ISOLINA first saw stage lights in 1822, and much like Paer’s opera enjoyed successes all over Europe.

And then?

Paer’s AGNESE, thanks to the enterprising Teatro Regio Torino is receiving its first performance in quite a while. And a good one this one is, recorded on video in 2019 and given a stylish, tongue-in-cheek production directed by Leo Muscato and designed by Federica Parolini, Silvia Aymonine, and Alessandro Verazzi.

The nine-strong cast features a terrific group of singing actors: Maria Rey-Joli, Markus Werba, Edgardo Rocha, Filippo Morace, Andrea Giovannini, Lucia Cirillo, Giulia Della Peruta, Federico Benetti, and a charming six-year old named Sofia La Cara.

The Orchestra and Chorus Teatro Regio Torino are beautifully conducted by Diego Fasolis, and the video and sound are first rate.

Morlacchi’s TEBALDO E ISOLINA was recorded in 2014 during the XXVI Rossini Festival in Wildbad. Here it receives a winning revival with a young cast, supported by the Camerata Bach Choir and the Virtuosi Brunensis, led by Antonio Fogliani.

For the inveterate collector both these offerings will make a nice addiction to an opera collection.

Rafael de Acha http://www.RafaelMusicNotes.com

Hanna-Elisabeth Müller

Hanna-Elisabeth Müller

Hanna-Elisabeth Müller is a musical miniaturist who, ever faithful to the texts of an album of songs by Robert Schumann, Francis Poulenc, and Alexander von Zemlinzky uses a full palette of vocal hues to tell stories about the human condition.

With the perfect partnership of Juliane Ruf, Müller takes the listener on a voyage of discovery throughout thirty-two songs that range from the six  Lieder in the Opus 107 of Schumann through both of Poulenc’s La courte paille and Fiancailles pour rire, and on through Zemlinky’s Six Waltz Songs.

Müller’s lyric voice is pristine, flawlessly on pitch, effortlessly produced, and never-ever pushed past its limits: those of a light lyric soprano with a bell-like upper-range and a warm, supple middle voice. In art song volume is a non-issue but I hasten to mention that at the end of Zemlinzky’s cycle Müller puts out a healthy amount of sound in the closing song.

Her German being her first language is supple and not pedantic, her French that of a native speaker. Her way with the sensuality of Poulenc’s Violon is as inviting as a real seduction, and her summoning of the ethereal in Fleurs a thing of wonder. Her depiction of the mix of emotions in Schumann’s Meine Rose is as memorable as any interpretation of this gem in memory.

The 2020 Pentatone issue of great songs by a heretofore lesser-known artist (to Americans) is perfectly engineered by Martin Sauer and exquisitely produced by Renaud Loranger, both factors that will no doubt help introduce Hanna-Elisabeth Müller to the wider public she so richly deserves.

Rafael de Acha                 http://www.RafaelMusicNotes.com

Carl Maria von Weber’s EURYANTHE

MUSIC BY Carl Maria von Weber, Libretto by Helmina von Chézy                                       With Jacquelyn Wagner, Theresa Kronthaler, Eva Maria Neubauer, Norman Reinhardt, Andrew Foster-Williams, and Stefan Cerny                                                           Orff Vienna Radio Orchestra conducted by Constantin Trinks                                             Stage Director Christof Loy                                                                                                               Live recording from December of 2018 at the Theater an der Wien, Vienna, Austria

First came Der Freischuetz, then a couple of years later Euryanthe. You’d think that Carl Maria von Weber would have made some strides as an opera composer. Maybe he would, had he not been saddled with one of the silliest librettos in all of Opera, courtesy of Helmina von Chézy, a poetess who provided all of the ingredients but none of the genius that goes into forging an inspired operatic libretto.

Instead we get a pastiche made tolerable by the occasionally inspired music of Weber. The entire opera runs close to 3 hours, and it would be an easier affair to sit through if a truly spectacular cast had been assembled for this DVD.

Sad to say, the only two singers with the chops to sing von Weber’s often unreasonably difficult music are the fine Jacquelyn Wagner, whose Euryanthe is nice to watch, and even nicer to listen to. Wagner is what in Germany they label “young-dramatic soprano”, that is someone ready to sing all the Strauss and Mozart big girl parts and a bit of Wagner. She has a sizeable, luscious voice that she uses stylishly, and I would like to hear her as Eva or Elisabeth or even Weber’s Agathe.

The other singer to keep an eye open for is mezzo-soprano Theresa Kronthaler, whose Eglantine looks and sounds like an Ortrud in the making, complete with the looks, acting skills and, most important, the voice to meet the demands of this tricky role. Kronthaler delivers a fiercely memorable performance with all vocal and dramatic guns blazing.

The men are reasonably well-cast, but a beefier sound than that of Andrew Foster-Williams would have been most welcome in the role of Lysiart, a bass-baritone part in which a true Wagnerian Heldenbariton could make a difference. The Adolar, tenor Norman Reinhardt sings well and acts with conviction. Stefan Cerny is acceptable as King Ludwig IV.

But the two female leads carry the day hands down.

Substituting dramatic cohesion and logic for modern-dress attitudinizing and replete with Regietheater clichés – I counted fifteen fainting spells, three love-making on the floor moments, and countless instances the German text and the stage action were not in sync. – the staging by Christoph Loy, is as confusing as the good-guys vs. bad-guys libretto. Where are we? Why are we here? What is a bed doing in the middle of the ballroom… or is it a ballroom? Why are the courtiers clumped together in a corner of the room, and so on…

The superb Orff Vienna Symphony Orchestra and Arnold Schoenberg Choir are very well conducted by Constantin Trinks in this excellently engineered DVR.

Rafael de Acha       http://www.RafaelMusicNotes.com

Ravel and Saint-Saëns in Cincinnati

February 8, 2020


SAINT-SAËNS: Piano Concerto No. 5, Egyptian
RAVEL: L’Enfant et les sortilèges

Cincinnati Symphony Orchestra
Louis Langrée, conductor
Cincinnati Music Hall

Grégoire Pont, concept and video
James Bonas, director

Cast: Isabel Leonard – The Child
with Yewon Yoon, Raven McMillon, Anyeé Farrar, Elana Bell, Joyner Horn, Georgia Jacobson, Brenda Iglesias, Victor Cardamone, Ryan Wolfe, Antonio Cruz and the CCM Chamber Choir, Earl Rivers, director

Less than a month ago we heard Jean-Yves Thibaudet give a magnificent reading of Camille Saint-Saëns’ Piano Concerto No. 5, Egyptian in Miami’s Knight Performing Arts Center, with Juanjo Mena leading the New World Symphony. As a response to that performance I wrote “Thibaudet immersed himself in the luxurious concerto, with nonpareil Gallic elegance and dazzling virtuosity, eliciting a well-earned ovation.”

After the Cincinnati performance we just heard, I would comfortably repeat myself, adding that maestro Langrée’s affinity for the elusive style of Saint-Saëns provided the perfect element  with which to produce a riveting performance of this work.

After intermission came a performance of Maurice Ravel’s L’Enfant et les sortilèges, a chamber opera that its composer preferred to call: a “Lyric Fantasy.”

The French poetess Colette provided the libretto that depicts during the course of two short acts the dream-like events that occur when a spoiled child has a destructive tantrum in his room. The objects victim of the boy’s misbehavior come to life: furniture, china, pages torn from a book… to scold the boy for his destructiveness.

In a second scene the dream turns into a nightmarish garden, in which flora and fauna that have suffered at the child’s hands now seek his comeuppance. A fight ensues and a squirrel is hurt in the process. The child’s noble impulses prevail, and he bandages the little animal’s paw.

Realizing that the child is compassionate at heart the garden creatures lead him home in a procession.

Ravel created music for this little opera that gave equal time to dance tunes, choral interludes, virtuoso arias and occasional jazzy Americanisms. In the seasoned company of the fine American mezzo-soprano Isabel Leonard, a cast of young singers took turns displaying their vocal and acting skills with notable success

As with previous efforts to produce semi-staged operas in Music Hall, this production only partially succeeded in melding two different forms into one. It gave the audience a taste of Ravel’s inventive music, Ms. Leonard’s honeyed voice, the emerging talents of a handful of CCM hopefuls, after which many of us were still left unconvinced about the mixing of orchestral apples and operatic pears in what is essentially a concert format.

For Ravel, who wrote the opera after returning from driving an ambulance in the killing fields of Flanders, Colette’s libretto proved to be the perfect antidote to post-war existential despair. For some listeners today, consigned as they are to living in the present, the sweet sensibilities of Ravel’s opera might be less than palatable. But on the other hand, I find its sentiments about coexistence with our fellow beings and respect for life in all its forms an energizing antidote to 21st-century cynicism.

Rafael de Acha

Monteverdi L’Orfeo

L'ORFEOMonteverdi’s L’Orfeo
February 6, 2020
University of Cincinnati College-Conservatory of Music    Cincinnati, Ohio.

Conductor – Brett Scott, conductor
Director – Amy Johnson
Scenic designer – Ann Nowak
Costume designer –  Henry Luna
Lighting designer – Andrew Stewart

Orpheus – Logan Wagner
Eurydice – Melodie Spencer
Music – Claudia Neff
Hope – Clara Reeves
Messenger – Storm Hargrave
Charon – Joshua Klein
Proserpine – Breanna Flores
Pluto – Sam Dhobhany
Nymph – Alea Vernon
Echo – Reed Demangone
Apollo – Matthew Goodheart
Chorus of Shepherds and Spirits – Above principals and, from the second cast: Grant Peck, Henry Lunn, Andrew Cunningham, Kate Riederer, Victoria Popritkin, Sarah Scofield

L’Orfeo is one of a handful of stage works by Claudio Monteverdi to have survived. Although not by any means the first opera, L’Orfeo is nonetheless the oldest opera still part of the repertory, and more than the stage works by Peri, Bardi, and Caccini, a chamber opera in the true sense of the term, having received its premiere in February of 1607, not in a theatre, but in an intimate setting in one of the private rooms of the Ducal Palace of Mantua.

Anchored in the Classic structure of Greek Tragedy, Monteverdi’s librettist provides a dramatic structure wherein the common man – embodied here by nymphs and shepherds in the first act and mortal spirits in the second act – interacts, questions, comments, even at times opposes the protagonist, Orpheus. Here we have for the first time in history action paired to music and a text that drives forward the story of a poet’s journey to hell and back.

That story, as portrayed in the prototypically classical libretto by Alessandro Striggio is that of the young lute-playing musician and poet Orpheus (Logan Wagner), who shortly after his nuptials to his beloved Eurydice (Melodie Spencer), must deal with her sudden death, victim of a snake bite. Distraught, Orpheus implores to the Fates, all to no avail, to bring back his beloved from the Underworld. When his words fall on deaf ears he then decides, guided by Hope (Clara Reeves) to go to the very gates of Hades where he encounters Charon (Joshua Klein), the boatmen who transports all dead souls across Styx, the river of Oblivion.

The hardnosed boatman refuses to give the young mortal passage, but Orpheus sings a lullaby that puts the old man to sleep. Seizing the opportunity, Orpheus commands Charon’s boat, crosses the river, and enters the deepest realm of the underworld, where he comes before Pluto (Sam Dhobhany) and Proserpine (Breanna Flores), monarchs of Hades. There Orpheus sings for them, and moved by his singing the infernal queen entreats her husband to let the young man take his bride back to the world of the living.

Pluto acquiesces with one condition: the lovers must not look at each other until they reach the world above.

As they walk out of Hades, Orpheus cannot resist and steals a glance into Euridice’s eyes, and when he does, the vow made to Pluto is broken and Euridice vanishes. Apollo descends from the heavens and invites the heartbroken Orpheus to ascend up into the higher realms, where he will be reunited with his beloved and rewarded for his suffering.

Whatever moral one may wish to draw from this tale, this story about love beyond death must be allowed to speak for itself. Many a stage director of this musical fable has not been able to resist the temptation to improve upon the basically naïve quality of the text and story, rather than trusting its pastoral simplicity.

Director Amy Johnson has opted to trust the spirit and letter of Monteverdi’s and Striggio’s original by avoiding any revisionist tricks, felicitously moving the action into the Age of Aquarius sixties and encouraging the young singing actors to behave and move naturally, greatly helped by the contemporary look of the costuming. Nor has she missed the opportunities for humor afforded by the story itself, thus avoiding any reverential attitudes.

The choice of this work is perfect for this cast of undergraduates in their late teens and very early twenties. It would be unfair to single out any one of the sixteen-plus participants, since it is as an ensemble that they made an impression on the capacity audience, doing most of the dramatic and vocal heavy lifting throughout the evening with artistic cohesiveness and a terrific sound.

Brett Scott continues to prove every time he conducts that he is as resourceful an opera conductor as the best. He led the small instrumental ensemble that comprised a good compliment of early instruments with sensitive pliancy, and stylishly accompanied the recitatives, arioso solos, and choral passages in period-perfect fashion, guiding his players in the execution of the embellishments needed to bring the four centuries old L’Orfeo to vivid life.

Kenneth Shaw’s brainchild Opera D’Arte, now in its sixth year continues its journey through the operatic repertory of several centuries. This foray into the 17th century is yet one more step in the right direction: selecting works suitable to young voices and presenting them in professional level productions such as this gem of a show.

Rafael de Acha

The Sublime Gershwin

Roger Lent In The Sublime Gershwin the immensely gifted pianist Roger Lent salutes the all-American musical icon by playing to perfection seven of Gershwin’s Preludes, his Four Pieces, including Promenade in C major, Impromptu in Two Keys, Three Quarter Blues, and Two Waltzes in C Major, all written between 1923 and 1937.

The Preludes would have added up to twenty-four had Gershwin lived to complete The Melting Pot, a collection of two dozen short pieces with which he aimed to if not establish at least reinforce his credentials as a “serious” composer.

It took for Nadia Boulanger to tell someone to tell Gershwin not to bother with the rigors of classical composition lest he should lose his jazzy identity. Ravel bluntly said to him that given the American’s handsome annual income, it should be Gershwin the one to teach Ravel and not the other way around. But Gershwin persisted, teaching himself while writing if not for Carnegie Hall, then for Broadway and Hollywood

Listening to the straightforward honesty of these gems, one is 100% convinced that the two French giants were right. But do not for moment think that there is nothing but well-structured, daringly harmonized, contrapuntally complex, quintessentially American, blessedly inspired music in each and every one of the eleven tracks in this CD. Nor let anyone suspect that I am giving short shrift to the ubiquitous Rhapsody in Blue with which Roger Lent felicitously brings the album to a memorable close.

Throughout Lent’s playing is deliberate, elegant, relaxed, clearly articulated, and attentive to details that faster tempi often tend to muddle. This invaluable artist, first an esteemed jazz musician and trumpet player, now an accomplished keyboard artist has in this, his first solo album as a pianist, a hands-down winner.

Classily produced by Lent’s mentor William Daghlian, perfectly engineered by Jonathan Schultz, and accompanied by insightful liner notes by Lent himself, the Espressivo label CD The Sublime Gershwin is available through http://www.jazzheads.com.

Listen here: https://youtu.be/Sr2nZxJiKDQ

Rafael de Acha           http://www.RafaelMusicNotes.com



In a matter of minutes Skylark Vocal Ensemble‘s Matthew Guard’s ONCE UPON A TIME riveted my attention. The concept is new to me, as are the names of many of the composers of the various choral compositions in this album: thirty in total.

Here Francis Poulenc, Leonard Bernstein and Ralph Vaughn Williams keep company with several Finnish, Latvian and Estonian composers, while anchoring the entire affair there is the compelling music of Benedict Sheehan, now meditative, now jittery, and unfailingly interesting throughout the sixty-seven minutes of the album. Maintaining the interest, there is the gorgeously spoken narrative by Sarah Walker wrapped in a youthfully gentle voice that evokes the sound of a young mother telling tales at bedtime.

But these tales are terrifying, not bowdlerized and sweetened for popular consumption on a Broadway stage or an animated film for children. There is primal terror and cruelty in much of the grim writing of the Grimm Brothers, and a Northern European sensibility about matters of the heart in Hans Christian Andersen’s tales, and the supple English translations spoken here by Sarah Walker in friendly middle-American work to perfection.

The album, created from a-to-z by Skylark and available directly from them (www.skylarkensemble.org) is a fascinating concept, taking two familiar fairytales and interspersing them with music apposite to the changing moments in the story (https://youtu.be/QpXM0Uf8rbM)

Taking the Brothers Grimm’s Snow White and the Seven Dwarfs, Skylark’s artistic director Matthew Guard leads his chameleonic twenty-strong vocal ensemble, drawing from them sounds that range from the ethereal through the earthbound. The group’s sopranos inhabit the above-the-staff region with complete ease, with the altos and tenors providing silky sounds in the middle range, and the basses smoothly underpinning the music.

Having previously listened to and reviewed Skylarks’ work I continue to be surprised by the inventive explorations of this indispensable enterprise.

Rafael de Acha http://www.RafaelMusicNotes.com

Almira, Handel’s first opera


In Handel’s opera of the same title Almira, Queen of Castille loves Fernando, her secretary. Consalvo, her guardian wants her to marry his son, Osman, who is secretly in love with Edilia, who has awakened Almira’s jealousy by flirting with Fernando. Princess Bellante is in love with Osman, whose father is in love with her. Osman loves Edilia but loves the idea of becoming a king even more, so that he feigns love for Almira, and so he asks Fernando to intercede with the queen on his behalf, but meanwhile Raymondo is trying to woo her love, but she is not at all interested, as she loves Fernado, to whom she is about to confess her love when Osman tries to stab him, but Almira disarms him.

(Stay with me, there’s more)

Meanwhile Edilia is jealous of Almira because her lover only has eyes for the Queen and the throne. Tabarco, Fernando’s servant gets hold of some compromising letters and decides to read them out loud to all of the participants in the various love triangles. Later at a costume party in which Raymondo, Fernando and Consalvo dress up as Europe, Asia, and Africa, Raymondo tries to court Edilia, who still loves Osman. Princess Bellante won’t have anything to do with Consalvo. Through the discovery of a jewel and a letter that reveals to Consalvo that Fernando is his long lost son, Almira and Osman and Edilia and Raymondo are finally united, leaving Fernando, Bellante, Consalvo and Tabarco out of any nuptials, at least for the moment.

If you are still with me I will hasten to tell you that in the midst of its numbing succession of aria-recitative pairings and its implausible plot Almira holds some delights, among them a string of duets Handel labeled arie a due, and a pair of ensembles that foretell things to come in the world of Baroque Opera. Much to savor too are the several solo passages – a mix of arias, ariosos and recitative soliloquies – assigned to the comic Tabarco, here played for all its worth by the superb character tenor Jan Kobow. The Masque that opens the final act is a fabulously over the top moment with Handel parodying his colleagues Lully and Rameau and loving every minute.

Hungarian soprano Emőke Baráth, a superb Baroque specialist gets many of the score’s gems, some of which she sings in Italian, not in the rat-tat-tat German of Handel’s librettist. Among many an oasis of Bel Canto, the aria Chi piu mi piace Io voglio and later Geloso tormento are both samplers of seamless legato singing whereas Ingrato, spietato provides Baráth a showy aria di bravura with which to end Act I. Soprano Amanda Forsythe is excellent in the seconda donna role of Edilia, displaying dazzling bravura in Proverai di che fiere saette. The cast is strong overall, but this opera – Handel’s first stage foray written when he was nineteen – clearly favors the females.

The Boston Early Music Orchestra led by Paul O’Dette works wonders with this imperfect and arguably much too long score yet never letting things sag. The four CD album is neatly packaged and the recording is impeccably engineered.

Rafael de Acha      http://www.RafaelMusicNotes.com

Haydn, Webern and Schoenberg played with cool brains and warm hearts


Immaculata Chamber Players                                                                                                              Violins: Kanako Shimasaki, Mariko Shimasaki, George Millsap, Zhe Deng,                       Violas: Cristian Diaz, Martin Hintz, Cellos: Jonathan Lee, Lucas Song                                        Immaculata Church, Cincinnati January 26, 2020

Haydn, String Quartet in E-flat Op. 33 No. 2 “The Joke”
Webern, Fünf Sätze für Streichquartett, Op. 5 (Five pieces for String Quartet)
Schoenberg, Verklärte Nacht (Transfigured Night), Op. 4

Inspired in both spirit and craftsmanship, and part of the late-career opus 33, which Haydn had published in 1781, the “Joke Quartet” earned its sobriquet for more than one of its implied puns. Maybe Haydn thought of Austrian humor as potentially pleasing to its Russian dedicatee, the Grand Duchess Maria Feodorovna. Whoever the butt of the joke may be, the Sunday afternoon audience took it well according the audience’s warm-hearted applause.

The Immaculata Chamber Players included in their January 26 concert at their home base in Mt. Adams as good a reading of Franz Joseph Haydn’s Quartet no.2, aka The Joke, as this listener remembers. First up in the opening Allegro all was Classical elegance. But as they took the listener into the second movement for which Haydn calls for schmaltz by way of soupy glissandi and heavy-handed accents that evoke a down-home Austrian foot-stomping dance, the players had a ball. The third movement Adagio returned to Classical sobriety. The joke awaited the listeners at the end of the will-it-end-now, tongue-in-cheek Finale with its series of faux-finishes, which the Immaculati immaculately delivered.

It takes more than just a little courage to program Anton Webern’s impenetrable Five Pieces for String Quartet in between Haydn and Schoenberg in what will be the second program of the Immaculata Chamber Players current lineup for 2020. The audaciously daring group has weaned its audience on Mendelssohn and Bach, and has never yet made an incursion into the 20th century, not that I remember. But in spite of its safe repertory choices the group’s identity thus far remains that of a valiant assemblage of young musicians ready for their DeMille musical close up.

Are they ready? Unbelievers would wonder, but not those of us who have been carefully following their journey. The young players took on Webern’s emphatically atonal set of miniatures playing them with respect and precision.

After intermission the Immaculata musicians took us into a renewed acquaintance with Schoenberg’s Transfigured Night, here given in its original chamber orchestration for a string sextet. The German’s serialist was here at his earliest, melodious best, closer in spirit and compositional technique to Wagner than to his dodecaphonic cohorts of later years.

In its cohesive six-part tone poem Schoenberg finds ways to potently express elation, sorrow, intense love, regret, remorse and redemption in music that not only foretells great things to come from its composer but delivers great music right here and now.

Throughout the entire program the eight participating musicians played with technical prowess and intense commitment to the music, embracing it with a cool brain and a warm heart, just the way Haydn, Webern, and Schoenberg would have wanted.

Rafael de Acha                                                                                                                                         WWW.RAFAELMUSICNOTES.COM


GIOACCHINO ROSSINI – ZELMIRA                                                                                                     NAXOS RELEASE OF TRIPLE CD SWR 8.660468-70

Stendhal loved Rossini, as did Metternich. So did the German and Austrian critics who showered Zelmira with praises when Rossini decided to take it and its original cast abroad after the opera’s initial Naples run.

It was a good move for Rossini to break free from the Neapolitan impresario Barbaja’s hold on the 30- year old composer whose entire career had thus far been limited to premieres in Naples’ San Carlo theatre. 1822 marked a turning point in the young composer’s career and life. So was 1823, when he made the operatic soprano Isabella Colbran his lawful wife.

For Colbran he wrote Elisabetta, Semiramide, Armida La donna del lago, Zoraide, Ermione, and the soprano leads in Otello and Maometto II, in addition to the part of Zelmira in the opera of the same title, all roles that call for the sort of voice that by all accounts Mrs. Rossini must have had: a freakish three octave range from F below the staff to F above high C, a contralto-like low range and easy high notes above the staff. Add to that ease with all sorts of fioriture and skills in declamatory passages many of which lie well below the comfort zone of most sopranos. No wonder that even the mighty Joan Sutherland passed on this role.

To make matters even more challenging, the scores calls for two tenors, one of whom should be able to replicate the heroic vocal antics of Giovanni David, the creator of the role of Ilo and sing passages calling for utmost agility, as is also demanded from the singer of Antenor, the other tenor role, one originally created by Andrea Nozzari, Rossini’s go-to tenore di grazia.

And that is not all, as not one but three Rossinian bassos are needed too. Why even the comprimaria role of Emma demands a pretty good mezzo-soprano who not only gets her very own aria and cabaletta but participates in many of the ensembles.

So the effort to produce and record this Rossinian rarity as part of the 2017 ROSSINI IN WILDBAD should be given praise. The lead soprano Silvia Dalla Benetta is very good, equipped with a lovely spinto sound, agility, a nice way with words, and the capability to make her presence felt both vocally and dramatically in the many ensembles. Of the men, the American tenor Joshua Stewart stands out with his virile sound and rock solid high range, proving to be a rising talent to watch.

Rafael de Acha