Artists: Janice Watson (soprano) / Geraldine McGreevy (soprano) / Catherine Wyn-Rogers (mezzo-soprano) / Toby Spence (tenor) / Peter Wedd (tenor) / Andrew Staples (tenor) / Peter Rose (bass) / James Rutherford (baritone) / Neal Davies (baritone) / Matthew Brook (bass-baritone) / Stephen Gadd (baritone) / Leigh Melrose (baritone) / Adrian Partington Singers BBC National Orchestra of Wales, David Lloyd-Jones
‘It will be an historical work, and it is the dream of my life. I do not believe in operas based on gods and myths. What we want are plots which give rise to characters of flesh and blood, with human emotions and human passions. Music should speak to the heart and not to the head…’ Sullivan back in 1885 with his ideas for Ivanhoe.
Ivanhoe, perhaps Sir Walter Scott’s most popular novel, was the perfect choice for historical opera and launched D’Oyly Carte’s ambitious English Royal Opera (now home to the Palace Theatre), where this romantic opera of three hours – ran with a double cast in one of London’s largest and most expensive theatre, on consecutive nights, for 155 performances, one of the most extraordinary runs ever achieved by any opera. In 1891, anyone in London wishing to experience some music would have had a remarkable choice.
The sheer breath and variety of Scott’s invention in Ivanhoe is astonishing, and it is one of the most significant operatic works to have originated in Britain. It was written when Sullivan was at the height of his powers, with his typical fluency in word-setting and mastery of orchestration, and it breathes his natural empathy and humanity. Sullivan’s career was, by any standards, an extraordinary one, and this was its zenith.
This is the first professional commercial recording of Ivanhoe and features a cast, including Janice Watson, Toby Spence, Catherine Wyn-Rogers and Geraldine McGreevy. Conductor David Lloyd-Jones who has previously conducted Sullivan works makes his debut with Chandos. The work is dedicated to Richard Hickox who was instrumental in making this recording.
Works: Tchaikovsky Robert's Aria from Iolanta 'My only beloved Mathilde I claim'; Weber Lysiart's Aria (So weih' ich mich den Rach gewalten) from Euryanthe 'What refuge here?'; Adams Oppenheimer's solo from Doctor Atomic 'Batter my heart'; Verdi (1813-1891) Iago's Aria (Credo in un Dio crudel) from Otello 'Take it: take the parth to your ruin' -
'Yes, I believe in God who has created me'; Wagner
Wolfram's Aria (Blick ich umher) from Tannhäuser 'Turning my gaze upon this proud assembly' Wolfram's Aria 'With dark foreboding twilight casts her shadow' 'Look down, oh gentle evening star'; Mozart Don Giovanni and Zerlina's Duet (Là ci darem la mano) from Don Giovanni 'Come on, we're wasting time' -
'There will my arms enfold you'
Gerald Finley (Don Giovanni)
with Lucy Crowe soprano • Gareth Hancock harpsichord; Turnage Harry's song from The Silver Tassie 'Oh bring to me a pint of wine'; Bizet Escamillo's Couplets from Carmen 'You're most kind, and in return I toast you' -
'Toreador, be ready!'
Gerald Finley (Escamillo)
with Deborah Miles-Johnson mezzo-soprano (Carmen) • Emma Brain-Gabbott soprano (Frasquita) • Kathryn Jenkin soprano (Mercedes) • Geoffrey Mitchell Choir; Wagner Sach's Aria (Verachtet mir die Meister nicht) from The Mastersingers of Nuremberg 'Do n ot disdain our Masters thus'
with Geoffrey Mitchell Choir; Donizetti Antonio's Aria (Ambo nati in questa valle) from Linda of Chamounix 'In this valley we shared our childhood'
Gerald Finley (Antonio)
with Anne Marie Gibbons mezzo-soprano; Puccini Te Deum from Tosca 'Three agents, quick as you can now'
Gerald Finley (Scarpia)
with Matthew Long tenor • Geoffrey Mitchell Choir; Richard Rodgers
'Some enchanted evening' from South Pacific
Artists: Gerald Finley
Leading baritone and dramatic interpreter of his generation, Gerald Finley is an artist who sets alight the stage and delights the ear, whatever the role he portrays.
On this his first arias disc, and first for Opera in English, he explores a broad range of repertory: old favourites, hidden treasures and roles which he himself has created, among them J.Robert Oppenheimer in John Adams’s Doctor Atomic and Harry Heegan in Mark-Anthony Turnage’s The Silver Tassie.
Gerald has won accolades across the globe including Gramophone Editor’s Choice Award at the 2006 Gramophone Awards for Stanford: Songs of the Sea (CHSA 5043).
English National Opera director, Edward Gardner offers a great understanding of Opera in English and here conducts the London Philharmonic Orchestra in his debut on Chandos.
'… Finley's mellifluous, malleable baritone is an ideal match for this repertoire, with lines eloquently floated, nuances subtly voiced and character sensitively defined. This is a beguiling programme, beautifully performed' Gramophone for CDA 67728
Works: The Crown of India (Orchestrations by Anthony Payne) Marches: Imperial, Empire and Coronation
Artists: Clare Shearer (mezzo-soprano) Gerald Finley (baritone) Barbara Marten (narrator) Deborah McAndrew (narrator) Joanne Mitchell (narrator) Sheffield Philharmonic Chorus
BBC Philharmonic, Sir Andrew Davis
Chandos are delighted to present the first complete recording of the masque The Crown of India, performed here by Clare Shearer and Gerald Finley, with the BBC Philharmonic and Sheffield Philharmonic Chorus, conducted by Sir Andrew Davis. Completed by Anthony Payne in 2008 the work conveys all the pomp and pageantry with which Elgar is associated. The work is presented on 2 CDs. Disc 1 includes the entire masque with narration, whilst Disc 2 contains only the music and Marches. The set is sold at the price of one full price CD.
This recording is also the first with Sir Andrew Davis, now signed exclusively to Chandos. Sir Andrew’s fascination with Elgar goes deep, including taking the symphonies all over the world. He says of The Crown of India, ‘He’s [Payne] done a terrific job. This is from Elgar’s mature period, the time of the Violin Concerto and Sospiri. There’s a ‘March of the Moguls’ which is the only march I know in three time and an exquisite interlude with solo violin.’
The elaborate pageant and theatrical presentation, The Crown of India was first staged in 1912 to celebrate the visit of King George V and Queen Mary to Delhi for their coronation as Emperor and Empress of India. Elgar wrote the music as his Op.66, with a libretto by Henry Hamilton. Sadly the score was only published in a piano-vocal version and the remaining orchestral parts were destroyed in the 1960s. In 2007 the Elgar Society set about a commission for Anthony Payne to complete the orchestration of the music, with the orchestral suite and marches.
Sir Andrew Davis continues to be resident in Chicago, where he has been Music Director and Principal Conductor of the Lyric Opera Chicago since 2000. His association with Chandos will see him conduct the principal BBC orchestras as well as orchestras around the world.
Works: Rinaldo & Armida / Electra / Homage to the Queen: Suite / Sweeney Todd Concert Suite
Artists: BBC Philharmonic, Rumon Gamba
Rumon Gamba: ‘Having recorded symphonies and film music by Malcolm Arnold and knowing how well his music is received by audiences around the world, I was surprised that there was no disc dedicated solely to his music for the ballet. The four scores featured here on this disc have such strong musical ideas and dramatic narrative, to say nothing of their sheer beauty and passion, that they come alive as pieces of music in their own right. And such contrasts on this programme – brutality and energy (Electra), sweeping romanticism (Rinaldo and Armida) and humour in all its guises (Sweeney Todd). I particularly enjoyed recording Rinaldo and Armida which deserves its place in the repertoire alongside those ballet scores we hear all too often in the concert hall.’
Arnold’s first ballet score, Homage to the Queen was commissioned to honour the Queen’s Coronation and performed by the Royal Ballet at Covent Garden in 1953. The Times wrote of the 2006 Royal Ballet revival: “Malcolm Arnold’s score is rich in majesty and filled with colour. A pleasure to hear it again.” The ballet suite begins with a Prelude strongly reminiscent of the ceremonial idiom of William Walton’s Coronation marches. The initial success of Homage quickly led to another ballet commission for Arnold. In 1954 he composed Rinaldo and Armida, a one-act ‘dance drama’, and guest-conducted the first performance himself at the Royal Opera House on January 1955. Rinaldo was based on an episode from Torquato Tasso’s poem Ierusalemme liberate (1581). Electra, which here receives is premiere recording was commissioned by the Royal Ballet and first performed in 1963. This work allowed Arnold to tap the darker side of his musical personality, as evidenced in several of his mature symphonies.
Chandos is well known for its recordings of Malcolm Arnold’s music – indeed, they are generally acknowledged by most to rank amongst the finest available – and the recordings of Arnold’s film music are best sellers. This unique anthology of ballet music should prove as popular, for the music is similarly illustrative and entertaining. Few of the ballets are represented in the catalogue and one has never before been recorded (Elektra). However they aptly demonstrate Malcolm Arnold’s versatility, covering a broad range of musical moods.
Works: Symphony No 1 in G major / Symphony No 2 in F major
Artists: Filarmonica ‘900 del Teatro Regio di Torino, Marzio Conti
Nino Rota achieved international recognition primarily as a composer of film music. His most admired and enduring work in this field sprang from his collaboration with Federico Fellini. However, his orchestral music has recently undergone a reappraisal. Little of this music is available on CD and this programme is unique.
Of the four symphonies that appear in his catalogue, Rota’s first and second were written simultaneously during the second half of the Thirties, when he had already developed his unmistakable, predominantly melodic style. Hints of a tenuous, well-balanced modernism are discernible, but at the same time he determinedly avoids any extreme experimentation. Common to both symphonies is a directness of expression embedded in a neoclassical style that constantly celebrates a landscape-in-sound.
Marzio Conti’s previous recordings of Rota’s music released on Chandos over the last few years were very well received. ‘Most of these are first recordings… but the performances are so loving, spirited and ingratiating that it is unlikely that any newcomers will best them. Splendid sound.’ American Record Guide on CHAN 10090. ‘Altogether a pleasure. These are bright, capable, affectionate, well-pointed performances in good sound, with soloists who sound totally at home with the music…’ International Record Review on CHAN 9954.
The Orchestra Filarmonica ‘900 was founded in 2003 and is recognised for its Twentieth Century music performances.
Works: Bartered Bride Overture / Three Dances from The Bartered Bride / The Secret Overture / Libussa Overture / The Devil’s Wall Prelude, Infernal Dance / The Brandenburgers: Prelude, Act 1 Ballet / The Kiss Overture / Dalibor entr’acte / The Two Widows: Overture, Act II Prelude and Polka
Artists: BBC Philharmonic, Gianandrea Noseda
‘This is a superb disc. There have been distinguished collections of Smetana’s symphonic poems but none quite to compare with this in excitement, richness of detail, sonic spectacle – how well Smetana writes for the brass! Not to be missed,’ Gramophone on Volume One.
Volume one of this series was an Editor’s Choice in Gramophone and here Gianandrea Noseda conducts his second instalment in his Smetana Orchestral Works series.
This latest programme is made up of the familiar Bartered Bride Overture and Dances with the overtures and ballets of his lesser-known operas, including his first opera The Brandenburgers - performed with the Ballet from Act I, The Kiss – which was his first collaboration with the brilliant young librettist and poet, Eliska Krasnohorska, and The Devil’s Wall all of which offer Smetana’s masterful orchestration, panache and virtuosity. They are performed with assurance by the BBC Philharmonic.
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