Voice seems (like Cooke’s) too delicious, too full-sized, too able to I haven’t heard Paul Appleby on the opera stage and, frankly, his Sasha Cooke, Steven Blier and Paul Appleby She is a singingĪctress to anticipate and a voice to hear one of these days in a place where Sondheim’s “Take Me to the World,” and-in duet withĪppleby-the breathless expectant wonder and the contrasting, consummatedĬoda of Charles Ives’s delicious “Memories” Wolf’s “Begegnung,” the aching hopefulness of “Tandaradei,” the rather more sophisticated maiden of Hugo Grieg’s “Verschwiegene Nachtigall,” where she slippedįlawless little ornamental turns into the nightingale’s insinuating Journey,” the bashful maiden boasting of her first conquest in She had the most fun becoming a small child for Ned Rorem’s “A Results are resplendent-intimate, but hugely intimate. For most of a song recital, ofĬourse, she scales it back to merely very pretty, but whenever she reached anĪppropriate climax, restraint falls away like a superfluous shawl, and the Lustrous, easily so, and perfectly supported. Individual voice), she sounds quite different: Her voice is enormous, plush, With its very live acoustic (when a small chorus sings there, you can hear each Otherwise vocally undistinguished new Hänsel und Gretel, a moment ofĬhildlike magical glee, just right for Humperdinck. I first noticed Sasha Cooke when she sang the Sandman in the Met’s They will become? Is it all lindenbäumen and young love’s first What themes inspire young composers to give a hint of how worthwhile Those of us who love early Verdi operas and early Rodgers & Hart musicalsĪnd the Grateful Dead before they were everywhere appreciated theĬonnoisseurship of reveling in very young Fauré and Schumann and Rorem andīusoni and Grieg and Ives and Sondheim-and slightly older Gershwin andĭylan. Specialized accordingly in songs not merely about youth but often thoseĬomposed by very young composers, composers who went on to bigger things. Paul Appleby The first concert of this year’s series was devoted to youth, and If they are terrific singers, I hope they turned to the New Yorkįestival of Song (NYFOS). And another hundred people just got off of the Into his office fresh off the boat from Texas and the day tenor Paul Appleby He was talking from the stage about the day mezzo Sasha Cooke walked Product_by=Measha Brueggergosman, mezzo-soprano. Product_title=Richard Wagner: Wesendonck-Lieder, Preludes and Overtures Image_description=Richard Wagner: Wesendonck-Lieder, Preludes and Overtures Those with deep collections might break out their Wagner overture and prelude sets conducted by Dorati, or Tennstedt, or Klemperer, or. Her tone is rich but never hooty, and she has complete security throughout her range.Īn original and imaginative cover couldn’t make the overall impact of this CD any greater. Vocal enthusiasts may opt for the disc solely for the roughly 20 minutes of Marsha Brueggergosman’s elegant performance of the Wesendonck-Lieder. Even the closing Ride of the Valkyries evokes technical admiration without getting the blood racing. The Tristan und Isolde selections lack sensuality, and though the Lohengrin preludes are immaculately performed, they are cold in effect. Ultimately, the key to a great performance of this overture should be the ability for the nobility of the main tune to sweep away the listener into vaguely tragic-heroic reveries. The clear, crisp recorded sound allows the listener to share in Welser-Möst’s sudden interest in this wind figure here, or the string accompaniment there.
Welser-Möst’s conducting tends to veer from abrupt interventionism (highlighting an odd orchestral detail or opting for an unexpected tempo adjustment) to passages of skilled but staid professionalism. Unfortunately, the perfunctory nature of the packaging is all too indicative of the musical performance within.
This is also Deutsche Grammophon’s only clear cover notice that the performance was recorded live. The cover photograph has the boyish conductor holding aloft the smiling singer’s hand before standing members of the orchestra. Orchestras make exponentially fewer recordings than they once did, and when one is produced, the cover is likely to be similar to the one Deutsche Grammophon provides for a recent CD of Franz-Welser Möst conducting the Cleveland Orchestra in Wagner preludes and overtures, with Marsha Brueggersoman as soloist in the Wesendock-Lieder. Wagner: Wesendonck-Lieder, Preludes and OverturesĬover art design in those days was an integral part of excitement and appeal of purchasing classical music recordings.
0 kommentar(er)
