03 Elina GarancaRevive
Elīna Garanča; Orquestra de la Comunitat Valenciana; Roberto Abbado
Deutsche Grammophon 479 5937

Elīna Garanča from Latvia is unquestionably the greatest mezzo of our time, already a legend. The mention of her name fills up opera houses and concert halls instantly worldwide. Her debut at the Met in Carmen was a world sensation, redefining the role and making us forget any Carmen heard before or ever after. Wherever she goes, she conquers. This is her fifth solo disc for DG, the previous four all award-winning runaway bestsellers and each showing different sides of her talent and development towards more and more complex roles.

“Strong women in moments of weakness” is how she defines this new release, and that means conflicting strong emotions but also a breakaway from her earlier bel canto repertoire into French and Italian verismo and, of course, Verdi. The point of departure is the role of Santuzza in Cavalleria Rusticana (her next project) with the gut-wrenching aria Voi lo sapete, o Mamma of human misery and despair, with Garanča rising to the occasion in a voice of tremendous range of vocal colour, intensity, passion and, above all, power.

Challenging and beautiful arias by Cilea, Massenet, Thomas and Saint-Saëns and more each give us a tantalizing glimpse into mezzo territory. And then comes Verdi: one huge role, Eboli in Don Carlo, which she hasn’t done yet and which everyone is waiting for. If this thrilling showstopper, Song of the Veil with its fiery Spanish rhythms and exuberance, is any indication, it will be another triumph. Roberto Abbado’s intense and passionate conducting adds to the success of this remarkable collection.

05 LucyJohn Glover – Lucy
Andrew Wilkowske; Christopher Zemliauskas; REDSHIFT Ensemble
New Focus Recordings FCR 183 (newfocusrecordings.com)

In 1964, Maurice and Jane Temerlin “adopted” the just-born Lucy as part of a series of cross-fostering experiments in which chimpanzees were raised as if they were human, with mostly tragic outcomes for the chimps. Lucy lived with them until 1977, when they could no longer deal with her. She was finally set free in The Gambia, where her mutilated body was found in 1987.

Kelley Rourke’s libretto (included in the booklet) imagines Maurice Temerlin learning of Lucy’s death and recalling episodes from their years together, drawn from his memoir, Lucy: Growing Up Human. John Glover’s hour-long opera (2014) features baritone Andrew Wilkowske (Temerlin), speaker Sarah Sokolovic (Researcher), pianist Christopher Zemliauskas and the four-member REDSHIFT Ensemble, with Glover conducting.

The hearty-voiced Wilkowske sings with energy and expression, but his music is less engrossing than his words, recounting many humorous, sometimes frightening, scenes of his “daughter” Lucy running around with unrolled toilet paper, getting drunk, carrying a kitten on her back, learning American Sign Language, dialling a telephone, attacking and biting a visitor. Most of Lucy’s musical pleasures are provided by the varied colours and bubbling rhythms of the instrumental accompaniment.

Bonus tracks include comments by Glover, Rourke, Wilkowske, stage director Erik Pearson and, most eloquently, Robert Ingersoll, who worked on the cross-fostering project but now advocates for chimps to be treated as chimps. “We stole their lives from them,” he laments. Lucy helps explain Ingersoll’s anguish.

06 Jane EyreJohn Joubert – Jane Eyre
April Fredrick; David Stout; Gwion Thomas; Mark Milhofer; English Symphony Orchestra; Kenneth Woods
SOMM Recordings SOMMCD 263-2

British composer John Joubert and his librettist (and former student) Kenneth Birkin worked on his opera Jane Eyre from 1987 through 1997. Incorporating cuts made for the world-premiere concert performance in October 2016 in Birmingham, this live recording is a tribute for the composer’s 90th birthday and an exceptional permanent record of a great work.

Charlotte Brontë’s novel surprisingly suits this operatic venture. As Joubert explains in the detailed liner notes, the two acts of three scenes each are not an exact retelling of the lengthy story, but a selective take on Jane’s adult life. The libretto captures all the important storyline components while the composition is amazing. The music is so original, with touches of such influences as Wagner and Strauss surfacing throughout. The vocal music captures the story but it really is the brilliant orchestration that rules – it almost sounds like equal duets between the vocals and instruments. The Act One argument between Jane and Brocklehurst is driven by rhythmic orchestral shots, low-pitched mysterious crescendos and countermelodies in the strings. The closing joy in Jane and Rochester’s reunion is reinforced by the sweet string lines.

The soloists perform with passion and expertise. The orchestra members play with astounding musical force, driving the operatic score to out of this world artistic heights. There is so much musical detail here that only repeated listening can illuminate. Though at times musically too melodramatic, this is an opera that should stand the test of time.

01 Orlando di LassoOrlando di Lasso – Laudate Dominum
Studio de musique ancienne de Montréal; Andrew McAnerney
ATMA ACD2 2748


Orlando di Lasso is generally considered to be one of the last and one of the finest composers of the Franco-Flemish school, a school (if that is the right word) that begins with Dufay and includes several great composers: Ockeghem and Josquin, de la Rue and Isaac. The forms that di Lasso’s motets take are often complex. Of the 13 on this disc none are in the standard four parts: six are for double choir (with eight, nine or ten voices), one is 12-part, one ten-part, one eight-part, one seven-part and one six-part. The organization within these parts also tends to be complex. In the six-part Te Deum the odd-numbered parts are plainchant and the even-numbered polyphonic. Omnia tempus habent sets the presentation of youth against old age by having a high voice choir of four sing the former and another four-voice choir, of low voices, sing the latter.

The Studio de musique ancienne de Montréal was founded in 1974 by Christopher Jackson and has, since Jackson’s recent death, been directed by Andrew McAnerney. On this record the choir consists of 13 singers who perform a cappella. This is challenging music, for the listener and the performer alike. The singing is glorious and the disc is strongly recommended.

02 Amabile ChoirsSing Your Song – Music by Matthew Emery
Amabile Choirs of London
Centrediscs CMCCD 23617

Sixteen unique choral works by Canadian composer Matthew Emery are performed here with passion. An alumnus of London’s Amabile Boys & Men’s Choirs, Emery uses his experience with choirs’ abilities to create soundscapes of shifting harmonies and glorious colours. One of CBC Music’s 30 hot Canadian classical musicians under 30 for 2016, Emery is a musical individualist in his tonal yet offbeat harmonies, word settings and phrasings.

A number of the songs deal with death and parting. In the opening track Sweetest Love, John Donne’s words are set to tonal harmonies with the occasional atonal note sneaking in. Especially moving are the high notes on the word sleep. Likewise in Still Colors (Velvet Shoes), the astounding tight ensemble performance with low and high harmonies drives the reflective mystery of this parting song.

All is not sadness. Let Your Voice Be Heard is a rousing song with a nod to minimalism as the line “let your voice be heard” is repeated as a reminder to be yourself. The Newfoundland folk song Haul on the Bowline has men’s voices working hard to get a boat to shore, while percussion and fiddle add a traditional flavour. The closing title track Sing Your Song is an upbeat work with driving percussion and piano adding to the pop music and sing-along qualities.

All the Amabile Choirs of London give first-class enthusiastic performances. Matthew Emery composes choral music at its very, very best.

03 WinterreiseSchubert – Winterreise
Matthias Goerne; Markus Hinterhäuser
Cmajor 738008

It is fascinating to observe how new pressures from audiences and technology constantly induce change in the way we consume art. Vinyl and tape having been first supplanted by CD, DVD and Blu-ray, quickly gave way to live streaming and playing hi-fi music on definitively low-fi smartphones. None of this has ever happened without controversy – remember the brouhaha accompanying the introduction of surtitles in most opera houses of the world?

Here is a recording of a conventional voice and piano performance augmented, or diminished (choose your side), by visual projections designed by William Kentridge. Only vaguely related to the music, these graphic designs and animated images seek to appease the multisensory needs of modern audiences. Or are they designed to stop them from checking their Twitter feed or Facebook updates during the concert? Whatever their purpose, they surely did not work for me, detracting from the performance, rather than enhancing it. And what a performance! Goerne, who is surely one of the world’s leading singers of Lieder, especially by Schubert and Mahler, is in fine voice here. Compared to previous recordings, his voice sounds rounder, more velvety and supported across the tessitura, while developing a darker, more intriguing timbre. So, this is a great performance, whether you close your eyes (me) or keep them wide open (some of my ADHD, millennial, image-hungry colleagues).

04 Krassima StoyanovaPuccini – Complete Songs for Soprano and Piano
Krassimira Stoyanova; Maria Prinz
Naxos 8.573051

In the booklet that accompanies this CD Robert Ignatius Letellier writes that these simple song settings “could hardly be more different from [Puccini’s] operas.” Perhaps so; yet it seems to me that an unsuspecting listener, when confronted with any one of the songs here, would immediately cry out: “Puccini!” While the writing of songs must always have been a by-product of his main work, it is remarkable that they date from so much of his creative life. The two oldest are from 1875, when Puccini was in his 17th year; the last is a pompous proto-fascist song which hymns Rome and Victory and which dates from 1919. Of the songs presented 17 are solos, the remaining two are soprano-mezzo duets. Here modern technology allows the soprano to sing both parts.

Krassimira Stoyanova is a Bulgarian soprano, who has sung in many of the world’s leading opera houses. Her repertoire includes Dvořák’s Rusalka as well as the Marschallin in Strauss’ Rosenkavalier and the title role in Ariadne auf Naxos, but the centre of that repertoire is clearly the music of Verdi (and definitely not Puccini). On this recording her voice comes across as full and warm. She does justice to the demands of these songs. Even if Puccini’s songs can never be seen as holding the centre of his work, it would be a pity to be without this recording. Many of the songs are attractive. They would often lead Puccini to further explorations in his operas as the essay in the booklet suggests and documents.

05 Buxton OrrBuxton Orr – Songs
Nicky Spence; Iain Burnside; Jordan Black; Edinburgh Quartet; Nikita Naumov
Delphian DCD34175

The works of the Scottish composer Buxton Orr (1924-1997) were not previously known to me. That is clearly my loss as the songs on this recording are attractive and show an interesting range. The disc opens with a lush setting of a lush poem by James Elroy Flecker. It then progresses to settings of early Scottish poems by Blind Harry, Dunbar, King James I, Robert Burns and John Skinner before turning to the comic worlds of Edward Lear and the Cornish poet Charles Causley. The record then ends with a group of six songs, Songs of a Childhood, again set to Scottish texts. There is an informative essay in the accompanying booklet (by Gary Higginson) but the reference to Burns is misleading. Higginson writes that the words of Tibby Fowler were collected by Burns but it is the tune that is traditional and Burns wrote the words himself (though they may incorporate some traditional elements).

These are all tenor songs and the singer, Nicky Spence, has an attractive lyric voice. He is also sensitive to the different demands of the various songs. There are small accompanying ensembles; the pianist (Iain Burnside) and the clarinetist (Jordan Black) are especially good.

06 Michele LosierTemps Nouveau
Michèle Losier; Olivier Godin
ATMA ACD2 2720


Recognizing the versatility and musical quality of French poetry – and inspired by the German Lied – French composers of the 19th and 20th century made the lodie immensely popular. The rich and resonant qualities of Michèle Losier’s voice along with the impeccable technique of pianist Olivier Godin suit this repertoire beautifully. The mezzo-soprano’s “deep affection for the works of Massenet, Gounod and Bizet” is clearly evident in her mature and evocative delivery. Deep emotion tempered by tenderness and sensitivity is brilliantly executed in Massenet’s Dors, ami and Élégie.

Remarkable in French art song is the manner in which composers treat the flow and contour of the language, freeing themselves from the strophic and emphasizing subtleties of phrasing and rhythmic patterns that only a native French speaker like Losier can master. And, with experience performing Mercedes in Carmen, she implicitly understands the dramatic qualities of Bizet’s Absence and the playful humour of his La Coccinelle. In the title track by Saint-Saëns, Temps Nouveau, the New Brunswick-born singer conveys her absolute delight in nature and its ever-changing seasons. The interpretations are both warm and highly intelligent.

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