#emőke baráth

[lesser-known-composers]

Antoine Dauvergne (1713-1797) - Canente: Amour, c'est trop troubler mon âme

Artist: Chantal Santon-Jeffery & Artist: Emőke Baráth

Choir: Purcell Choir

Conductor: György Vashegyi

Orchestra: Orfeo Orchestra

[digitalandy]

Die Zauberflote, Opera di Roma

Bellissima e originale messa in scena diretta da Damiano Michieletto, questa versione dell'opera Mozartiana vede l'azione collocata in una vecchia scuola. Il percorso iniziatico di Tamino diventa quindi quello di uno scolaro e i vari personaggi si allineano a questo tema con naturalezza. Papageno diventa quindi un bidello, le tre cortigiane delle suore, Sarastro il preside e così via. Il tutto in una scena scarna e impreziosita da una lavanderia lavagna dove appaiono disegni animati che accompagnano l'azione.

Lo spettacolo, originariamente prodotto per il teatro della Fenice nel 2015, rivela ancora tutta la sua originalità e freschezza.

Ottima la conduzione da parte del giovane Maestro Michele Spotti mentre sulle voci un mix di giudizio.

Die Zauberflöte

Musica di Wolfgang Amadeus Mozart

Singspiel in due atti

su libretto di Emanuel Schikaneder

Prima rappresentazione assoluta Theater auf der Wieden, Vienna, 30 settembre 1791

Prima rappresentazione al Teatro Costanzi 16 marzo 1937

Durata: 2 ore e 50 minuti circa. Atto I 65'; intervallo 25'; Atto II 75'

DIRETTORE

 Michele Spotti

REGIA

 Damiano Michieletto

MAESTRO DEL CORO CIRO VISCO

SCENE PAOLO FANTIN

COSTUMI CARLA TETI

LUCI ALESSANDRO CARLETTI

VIDEO ROCAFILM/ROLAND HORVATH

PERSONAGGI INTERPRETI

TAMINO Juan Francisco Gatell / Cameron Becker  14, 17, 19

L’ORATORE Zachary Altman

PAPAGENO Markus Werba / Äneas Humm 14, 17, 19

PAMINA Emőke Baráth / Maria Laura Iacobellis 14, 17, 19

REGINA DELLA NOTTE Aleksandra Olczyk / Aigul Khismatullina 14, 17, 19, 21

SARASTRO John Relyea / Simon Lim 14, 17, 19

PAPAGENA Caterina Di Tonno / Mariam Suleiman* 16, 17, 18, 19, 20, 21

MONOSTATOS Marcello Nardis

PRIMO SACERDOTE / SECONDO ARMIGERO Arturo Espinosa**

SECONDO SACERDOTE / PRIMO ARMIGERO Nicola Straniero*

PRIMA DAMA Ania Jeruc

SECONDA DAMA Valentina Gargano*

TERZA DAMA Adriana Di Paola

*dal progetto “Fabbrica” Young Artist Program del Teatro dell’Opera di Roma

**diplomato “Fabbrica” Young Artist Program del Teatro dell’Opera di Roma

ORCHESTRA E CORO DEL TEATRO DELL’OPERA DI ROMA

Con la partecipazione della Scuola di Canto Corale del Teatro dell’Opera di Roma

ALLESTIMENTO TEATRO LA FENICE DI VENEZIA

IN COPRODUZIONE CON TEATRO DEL MAGGIO MUSICALE FIORENTINO

[bdpst24]

Szerelmi háromszög és királydráma az OPERA Mozart-bemutatójában

Baráth Emőke, Brickner Szabolcs, Balga Gabriella és Ádám Zsuzsanna / Topolánszky Laura főszereplésével több mint 40 év után mutatja be újra Mozart Idomeneo, Kréta királya című operáját a Magyar Állami Operaház. Az Almási-Tóth András rendezésében, Kocsár Balázs vezényletével 2023. május 13-tól látható előadás az Operaházban április 29-től június 30-ig tartó MítoszFeszt része, ahol Alföldi Róbert,…

[verdiprati]

Mostly Mezzo . . . wait, what day is this?: Cargill, Baráth (x2), and d’Oustrac

Mostly Mezzo Mondays: a recurring (though not weekly) feature where, on Monday nights, I blog a list of the upcoming broadcasts that have caught my eye on World Concert Hall. My interests: baroque vocal music, art song recitals, and a list of favorite singers.

I’m off schedule, but here are some broadcasts I’ve spotted between now and Monday the 27th that might be of interest:

Karen Cargill sings lieder by Alma Mahler as part of a concert with the BBC Symphony Orchestra. Live broadcast Friday, January 24 on BBC Radio 3.

Antonio Cesti’s mid-17th-century opera La Dori was performed last fall by a cast including Emőke Baráth in Innsbruck, the city where it was premiered. It has a character named Artaserse, a character named Tolomeo, a female soprano singing a male character in disguise as a woman, and a female character in disguise as a boy, so you can mark off a lot of squares on your baroque opera bingo card. Deferred broadcast Saturday, January 25 on Ö1.

Thanks to the magic of audio recording technology, Baráth can also be heard in a Rameau concert recorded in Boston last year. Deferred broadcast Sunday, January 26 on WCRB. (Note that because World Concert Hall uses GMT for all times, it lists this concert in the early morning hours of January 27.)

Stéphanie d’Oustrac sings Berlioz’s Les nuits d’été in a concert with the Paris Chamber Orchestra. Deferred broadcast Monday, January 27 on France Musique.

[operacreep]

2017, my musical year in review

The last time I wrote a blog post, Donald Trump had just become President of the USA, which pretty much prefigured the chaos and confusion of the last twelve months. But being on the door step of a possible nuclear obliteration is a good time to look back to all the joyful artistic experiences that made it from bearable to outright gorgeous.  Since I lazily put together a short list of favourites…

[vincentdelaplage]

DE LA FIBRE MATERNELLE... Mary Stevenson Cassatt, dite Mary Cassatt, née le 22 mai 1844 à Pittsburgh en Pennsylvanie et morte le 14 juin 1926 au Mesnil-Théribus en France, où elle est enterrée, est une peintre et graveuse américaine. Regardez "Vivaldi : Armatae face et anguibus (Juditha Triumphans, RV644) / Emőke Baráth, Le Concert de la Loge" sur YouTube https://youtu.be/yO1__rtgZ0k La fibre maternelle désigne une disposition à ressentir certains sentiments, une capacité à s'identifier hystériquement au vécu traumatique des nouveau-nés et à y répondre. Ces qualités s'unissent dans une attitude particulière, souvent qualifiée de folie maternelle ordinaire. #culturejaiflash https://www.instagram.com/p/Cd5SvGXMiV6/?igshid=NGJjMDIxMWI=

[gramilano]

Philippe Jaroussky, Ombra mai fu, photo by Josef Fischnaller, © Parlophone Records Ltd

French countertenor Philippe Jaroussky explores the arias of Francesco Cavalli on his new album Ombra mai fu, which was released digitally on 8 March and physically on CD and vinyl on 22 March.

Why Cavalli? Jaroussky says,

Beyond the great musical interest that Cavalli offers, his operas are notable for their richness and modernity, and for the diversity and complexity of their characters. Stage directors and opera houses are increasingly keen to stage his works. His operas are full of fantasy, craziness, humour and emotion. They offer a variety we don’t find in the opera seria of the 18th century.

Italian composer Cavalli (1602–1676) is an important figure in the history of opera and his works, which first experienced a revival in the 1960s, have been growing in popularity in recent years. Cavalli was the most prominent successor to Monteverdi, and active in Venice at a time when opera was moving out of aristocratic palaces and into public theatres.

Philippe Jaroussky, Ombra mai fu, photo by Josef Fischnaller, © Parlophone Records Ltd 04

Philippe Jaroussky, Ombra mai fu, photo by Josef Fischnaller, © Parlophone Records Ltd 03

Philippe Jaroussky, Ombra mai fu, photo by Josef Fischnaller, © Parlophone Records Ltd 06

Philippe Jaroussky, Ombra mai fu, photo by Josef Fischnaller, © Parlophone Records Ltd 02

Philippe Jaroussky, Ombra mai fu, photo by Josef Fischnaller, © Parlophone Records Ltd 10

Philippe Jaroussky, Ombra mai fu, photo by Josef Fischnaller, © Parlophone Records Ltd 09

Philippe Jaroussky, Ombra mai fu, photo by Josef Fischnaller, © Parlophone Records Ltd 07

Musically, his operas are notable for the fluid expression of their recitar cantando (“acting in song”), and dramatically for their variety of tone, combining noble, mythical or tragic drama with teasing or bawdy comedy.

Cavalli played a major role in establishing opera – the new genre created by Monteverdi and others – as popular entertainment. He composed many operas for the Teatro San Cassiano, which was the first theatre in Venice to stage opera.

He was also active in the field of religious music. As a boy, he had sung under Monteverdi’s direction in the choir of St Mark’s Basilica. He went on to become the cathedral’s organist and eventually, in 1668, to follow in Monteverdi’s footsteps and become its maestro di cappella, the equivalent of a modern-day music director.

When preparing Ombra mai fu, Jaroussky was able to study the manuscripts of most of Cavalli’s 37 surviving operas.

I really wanted to use the album’s playing time to show all the variety and all the qualities of Cavalli’s music. It can sometimes appear disarmingly simple, but it has a very special and distinctive melodic and harmonic flavour. The album is designed to illustrate the contrasts in his operas as they move from one scene to the next, where a lamento might be directly followed by something very humorous.

Jaroussky has chosen vocal and instrumental numbers from more than a dozen of Cavalli’s operas, ranging from comparatively well-known works such as Calisto, Ercole amante, Ormindo and Giasone, and Eliogabalo, which was recently staged in both Paris and Amsterdam, to such rarities as Statira, principessa di Persia and La virtù dei strali d’Amore.

Jaroussky is joined on this Erato recording by soprano Emőke Baráth, whose own recent Erato recital, Voglio cantar, highlighted the music of Barbara Strozzi, a student of Cavalli. Contralto Marie-Nicole Lemieux joins him for the comical duet ‘Ninfa bella’ from Calisto.

Philippe Jaroussky, Ombra mai fu, photo by Josef Fischnaller, © Parlophone Records Ltd 05

Philippe Jaroussky, Ombra mai fu, photo by Josef Fischnaller, © Parlophone Records Ltd 08

Philippe Jaroussky, Ombra mai fu, photo by Josef Fischnaller, © Parlophone Records Ltd 01

The title track is taken from the opera Xerse, which dates from 1654 and is set to the same libretto that Handel used for his Serse more than 80 years later.

Curiously there are similarities between Cavalli’s and Handel’s settings of ‘Ombra mai fù’ – both are quite short and in triple time.

Did Handel know Cavalli’s Xerse?

It’s a possibility. An interesting difference between the two arias is that in Handel’s version the first violin plays along with the voice. In Cavalli’s version the violin parts are higher and fill in the harmonies, changing constantly and creating a very beautiful effect of iridescence and colour.

On this recording, those violins belong to Ensemble Artaserse, which Jaroussky launched in 2002 in collaboration with other leading musicians in the field of Baroque music.

Ombra mai fu

Ombra mai fu

Xerse, act I, scene 1: Ombra mai fu

Statira, principessa di Persia, act II, scene 10: All’armi mio core

Erismenea, act II, scene 22: Recit. Dove mi conducete?

Erismenea, act II, scene 22:  Aria. Uscitemi dal cor, lacrime amare

Calisto, act I, scene 12: Intreprete mal buona… L’uomo è una dolce cosa

Calisto, act I, scene 13: Ninfa bella

Eliogabalo: sinfonia

Elena, act III, scene 1: Ecco l’idol mio … Mio diletto, mio sospiro

Ercole Amante: sinfonia

Eliogabalo, act I, scene 13: Io resto solo? …Misero, cosi va

Ormindo, act II, scene 6: Che città che costumi

Gli amori d’Apollo e di Dafne, act III, scene 3: Recit. Ohimé, che miro?

Gli amori d’Apollo e di Dafne, act III, scene 3: Aria. Misero Apollo

Orione: sinfonia

Eritrea, act I, scene 8: Ô luci belle

Giasone, act I, scene 2: Delizie, contenti

Doriclea: sinfonia

Calisto, act II, scene 1: Erme, e solinghe cime…. Lucidissima face

La Virtù dei Strali d’amore, act II, scene 4: Alcun più di me felice non è

Pompeo Magno, act II, scene 16: Cieche Tenebre

Xerse, act II, scene 8: La belezza è un don fugace

La Virtù dei Strali d’amore, act I, scene 8: recit. Il diletto interrotto…

La Virtù dei Strali d’amore, act I, scene 8: Desia la Verginella

La Virtù dei Strali d’amore, act III, scene 3: Che pensi, mio core?

Philippe Jaroussky countertenor (Tracks 1-4, 6, 8, 10-13, 15, 16, 18-26) Emőke Baráth soprano (Tracks 8, 15) Marie Nicole Lemieux contralto (Tracks 5, 6)

With the Ensemble Artaserse

Countertenor Philippe Jaroussky talks about his new album “Ombra mai fu” French countertenor Philippe Jaroussky explores the arias of Francesco Cavalli on his new album Ombra mai fu…

[elmartillosinmetre]

Monteverdi y los demás (Las líneas del FeMÀS’17)

Se entiende muy mal que un festival de esta envergadura, en su trigesimocuarta edición y con un presupuesto como el que maneja, se presente a tres semanas de su inicio, pero lo que resulta aún más incomprensible es que la muestra no tenga una página web propia, un auténtico escarnio que revela incompetencia, desidia o ambas cosas en el cuidado de un bien público, que necesita mucha más atención de sus gestores y va precisando de un nuevo impulso. Por suerte, la vertiente artística sigue otro camino, y la oferta de este año continúa siendo copiosa (22 conciertos, un ciclo paralelo de conferencias) y presenta muchas citas de gran interés.

En la apertura podrá escucharse una de las grandes obras de la historia de la música, las Vísperas de 1610 de Claudio Monteverdi. La presencia de Rinaldo Alessandrini al frente de su Concerto Italiano garantiza la calidad de la propuesta, aunque lamentablemente el espacio escogido (la iglesia de la Magdalena) no beneficia en absoluto a un espectáculo que pedía el Maestranza a gritos. En el 450 aniversario de su nacimiento, el compositor de Cremona marca una de las líneas de la programación, menos profunda en cualquier caso de lo que podría haberse esperado. Descartada la ópera (¿hará algo el Maestranza en su próxima temporada? El olvido de Monteverdi en el principal teatro de la ciudad bordea ya lo ignominioso), se han previsto dos conciertos con obras profanas a voz sola, que traerán dos grandes sopranos europeas arropadas por dos estupendos conjuntos, Raquel Andueza con La Galanía y Emőke Baráth con la Cappella Mediterranea, pero sus programas se parecen demasiado. Un grupo coral sevillano (Jeu D’harmonie) hará un recital con madrigales tempranos, música que hoy es preferiblemente interpretada por conjuntos de solistas, mientras que los madrileños de Los Afectos Diversos presentarán una de las misas a cappella del compositor. Sabe a demasiado poco.

En mi opinión, la segunda línea de interés del Festival es la de la música para violín y piano de la Viena clásica, que traerá a Sevilla a cuatro grandes figuras mundiales, las violinistas Midori Seiler y Rachel Podger y los teclistas (han hecho su carrera como intérpretes de clave, pianos antiguos y modernos) Andreas Staier y Kristian Bezuidenhout. Por supuesto se utilizarán instrumentos de época. Habida cuenta de que en la ciudad no hay un solo fortepiano operativo, la posibilidad de escuchar música de Mozart, Beethoven y Schubert en dos de estos sugerentes instrumentos (alquilados a una empresa madrileña) y en las manos de dos de los mayores especialistas del momento tardará en repetirse.

Bach genera cada año una línea de programación propia, este año algo corta. Para el primer domingo se han preparado dos interesantes citas solísticas (violonchelo por la mañana, clave por la noche), pero el plato fuerte será el cierre del Festival, que se anticipa grandioso con la monumental Pasión según San Mateo ofrecida por uno de los mayores especialistas del último medio siglo, Philippe Herreweghe, esta vez, sí, en el Maestranza.

La cuarta línea del Festival que merece destacarse es la de creación española, que reúne hasta cinco conciertos, si consideramos a Scarlatti un español más: bien traído el recital de Andrés A. Gómez, porque la música de Scarlatti no ha tenido nunca gran presencia en el Festival sevillano. Además, la Accademia del Piacere hará un recorrido por la figura de Sebastián Durón; la Acadèmia 1750 ofrecerá, de la mano de Aarón Zapico, el rescate de un oratorio dieciochesco de José Lidón, compositor que llegó a ser maestro de la Capilla Real ya en el siglo XIX, y La Real Cámara contrastará la música para violín de un jesuita sevillano, Francisco José de Castro, con la del gran referente de su época, Arcangelo Corelli. Mención aparte merece el homenaje a Alonso Lobo que el grupo sevillano Bach Accademia, fundado no hace aún dos años, ofrece en el coro de la catedral para la que el músico de Osuna trabajó como maestro de capilla justo el día en que se cumplen los 400 años de su muerte.

[Diario de Sevilla. 24-02-2017]

[operasrsly]

Leclair: Scylla et Glaucus (1746) - Tragédie en musique with a prologue and five acts -- concert performance, Hungarian première extracts from Act III.  "Serments trompeurs"/"Ta gloire dans ces lieux t'appelle" (Arias of Scylla) "Dieu charmant" (Chor) -------------------------- Scylla: Emőke Baráth - soprano Glaucus: Jeffrey Thompson - haute-contre Circé: Katalin Szutrély - soprano Venus: Andrea Csereklyei - soprano L'Amour: Ágnes Pintér - soprano Chef des peuples, Un Silvain (in love with Scylla),  Licas: Domonkos Blazsó - baritone Purcell Choir Orfeo Orchestra (on period instruments) Concertmaster: Simon Standage Conductor: György Vashegyi  (Bartók Béla National Concert Hall, Budapest, 16 May 2013)

[bdpst24]

Igazi barokk zenei csemegével várja a nézőket a Müpa

Baráth Emőke és az Europa Galante Különleges zenei élményben lehet részük azoknak, akik június 28-án este ellátogatnak a Bartók Béla Nemzeti Hangversenyterembe: a sokak által várt koncert során Vivaldi, Purcell és Händel varázslatos művei, a 18. század legszebb áriái csendülnek fel „Az évad művésze” címmel kitüntetett lírai szoprán, Baráth Emőke és a historikus zene egyik legkiemelkedőbb…

[verdiprati]

Mostly Mezzo Mondays: Röschmann; Prina, Genaux, Im, & Invernizzi; Persson & Davidsen; von Otter; Baráth, Cangemi, & Galou; D’Angelo

Mostly Mezzo Mondays: a recurring (though not weekly) feature where, on Monday nights, I blog a list of the upcoming broadcasts that have caught my eye on World Concert Hall. My interests: baroque vocal music, art song recitals, and a list of favorite singers.

Dorothea Röschmann sings Wagner’s Wesendonck Lieder as part of a concert with the Orchestre de Paris; Karina Cannelakis conducts. Wednesday, September 4; video livestream on Arte and simultaneous audio broadcast on Radio Clasique. 

I can’t say I’m very familiar with Handel’s Lucio Cornelio Silla, but I have heard good work from Sonia Prina, Vivica Genaux, Sunhae Im, and Roberta Invernizzi, all of whom are among the cast for a performance by Europa Galante at the Enescu Festival. Live broadcast Thursday, September 5 on Radio România Muzical.

Lise Davidsen has made a splash in dramatic soprano roles, but she also has mezzo repertoire, and is scheduled to sing the alto solo in Mahler’s Symphony No. 2 with the Bergen Philharmonic and massed choirs; Miah Persson takes the soprano solo. Live broadcast Thursday, September 5 on NRK Klassik.

Mahler’s Symphony No. 3 is also on the broadcast schedule this week, with Anne Sofie von Otter singing the alto solo for the NDR Radiophilharmonie. Live broadcast Saturday, September 7th on NDR Kultur. 

Handel’s Silla isn’t the only baroque opera based on Roman history we get from the Enescu Festival this year: Vivaldi’s Giustino is up for broadcast, too. Names catching my eye among the cast include Emőke Baráth, Veronica Cangemi, and Delphine Galou. Live broadcast Sunday, September 8 on Radio România Muzical.

Dedicated mezzophiles may have their eye on the rising star of Emily D’Angelo. Along with Morgan Pearse and Marie Lys, she recently sang a program of “arias and duets from operas from the 17th and the 18th centuries” at the Innsbruck Festival, with its resident orchestra. Deferred broadcast Monday, September 9 on Ö1.

[verdiprati]

Mostly Mezzo Mondays: Lemieux, Mameli, Prina, Erraught, Hallenberg (x2), Gauvin, Baráth, Lindsey (x2)

Mostly Mezzo Mondays: a recurring (though not weekly) feature where, on Monday nights, I blog a list of the upcoming broadcasts that have caught my eye on World Concert Hall. My interests: baroque vocal music, art song recitals, and a list of favorite singers.

Marie-Nicole Lemieux sings Berlioz’ Les nuits d’été with the Orchestre National de France. Live broadcast Wednesday, September 18 on France Musique.

Roberta Mameli and Sonia Prina make up two thirds of the vocal team for a performance of Handel’s Aci, Galatea, e Polifemo with Labarroca at the Enescu Festival. Live broadcast Thursday, September 19 on Radio România Muzical (and presumably a video livestream from the festival as well).

Tara Erraught sings lieder by Wolf, Schubert, Mahler, and Brahms in a recital at Schwarzenberg with clarinetist Jörg Widmann and pianist Malcolm Martineau. Deferred broadcast Thursday, September 19 on Ö1. 

Handel’s Giulio Cesare at the Enescu Festival features a countertenor Cesare (Christopher Lowry) but mezzophiles may enjoy hearing Ann Hallenberg in the role of Sesto. Also notable: Karina Gauvin as Cleopatra. The Cornelia, Eve-Maud Hubeaux, is unknown to me; her YouTube clips give evidence of a mahogany-toned voice. The orchestra is Les Talens Lyriques conducted by Christophe Rousset. Live broadcast Friday, September 20 on Radio România Muzical (and video livestream, I assume).

Emőke Baráth sings the role of Euridice in a performance of Monteverdi’s Orfeo. Other names that stand out to me on the cast list are Cyril Auvity and Nuria Rial. Live broadcast Friday, September 20 on the Müpa Budapest website (it’s not clear to me whether this will be audio-only or a video livestream). 

Ann Hallenberg leads the cast of Handel’s Agrippina at the Enescu Festival. Much of the casting of Cesare is repeated (including Lowrey and Gauvin), as are the orchestra and conductor. Live broadcast Saturday, September 21 on Radio România Muzical (and, presumably, in a livestream on the Festival’s website). 

Kate Lindsey sings, I assume, the role of Juliet in Berlioz’ Romeo et Juliette. Andrew Staples and Shenyang are also on the roster. Deferred broadcast Saturday, September 21 on RBB Kultur.

Kate Lindsey also sings—or rather, sang, eight years ago—a recital of works by Liszt, Bizet, Fairouz, Arlen and Argento. With Kim Pensinger Witman. Very, very deferred broadcast Sunday, September 22 on WETA. 

[verdiprati]

Mostly Mezzo Mondays: Röschmann (x2), Lindsey, and a strong St John Passion

Mostly Mezzo Mondays: a recurring (though not weekly) feature where, on Monday nights, I blog a list of the upcoming broadcasts that have caught my eye on World Concert Hall. My interests: baroque vocal music, art song recitals, and a list of favorite singers.

Dorothea Röschmann sings excerpts from Tannhäuser as part of a concert with the Münchener Kammerorchester. Live broadcast Thursday, April 11 on BR Klassik.

Mezzophiles who especially admire Kate Lindsey may want to catch the radio broadcast of a “made-for-Cleveland production” of Ariadne auf Naxos in which she sang der Komponist earlier this year. Co-stars include Tamara Wilson, Andreas Schager, and Daniela Fally among others. Saturday, April 13 on WCLV. (Note: because World Concert Hall uses GMT for all listings, this concert is shown as being broadcast at 0:00 on the 14th, but that is 8:00 p.m. on the 13th, Cleveland time.)*

William Christie generally picks good singers to work with on baroque repertoire and the upcoming St John Passion he is conducting with the Royal Concertgebouw Orchestra is no exception. The lineup: Reinoud van Mechelen (Evangelist), Alex Rosen (Christus), Emőke Baráth, Iestyn Davies, Anthony Gregory, and Renato Dolcini. Rosen is the only one completely unknown to me, while Gregory is vaguely familiar from social meda; the rest, I have definitely heard in live performance and I approve of this team. Live broadcast Sunday, April 14 on NPO Radio 4.*

Dorothea Röschmann sings fragments from Wozzeck as part of a concert with the Berliner Philharmoniker. (This concert took place in late March and I’m told there’s video available on the Berlin Phil’s Digital Concert Hall.) Deferred radio broadcast Sunday, April 14 on Kulturradio RBB. 

Broadcasts marked with an asterisk (*) are on stations known to me to have a history of making concerts available for listening on demand for at least a week after the initial broadcast.

[verdiprati]

Mostly Mezzo Mondays: Coote, Cargill, Baráth, Connolly, et al.

Mostly Mezzo Mondays: a recurring (though not weekly) feature where, on Monday nights, I blog a list of the upcoming broadcasts that have caught my eye on World Concert Hall. My interests: baroque vocal music, art song recitals, and a list of favorite singers.

Alice Coote and Michael Schade are scheduled to sing the vocal solos in a performance of Mahler’s Das Lied von der Erde by the Orchestre Philharmonique de Radio France. Olari Elts conducts. Live broadcast Thursday, October 25 on France Musique.*

Karen Cargill is on the program of a concert with the BBC Philharmonic, singing Berlioz’ La mort de Cléopâtre. (Those with an interest in living and/or female composers might like to take note that the program sandwiches two Berlioz pieces between two pieces by Saariaho.) Live broadcast Friday, October 26 on BBC Radio 3.*

Philippe Herreweghe conducts a performance of Mozart’s Requiem with Emőke Baráth, Eva Zaïcik, Maximilian Schmitt, Florian Boesch, the Collegium Vocale Gent, and the Orchestre des Champs-Elysées. Live broadcast Friday, October 26 on Klara.*

Dame of my heart Sarah Connolly sings the role of Fricka in a deferred broadcast of Wagner’s Das Rheingold from Covent Garden. Her co-stars are too numerous to list in full but one must mention John Lundgren as Wotan, at least; Johannes-Martin Kranzle has been getting rave reviews for his performance as Alberich, and Lise Davidsen (playing Fricka’s sister Freia) made a very positive impression in her recent Verdi Requiem with Dame Sarah. Saturday, October 27 on BBC Radio 3.*

Schumann’s oratorio Scenes from Goethe’s Faust doesn’t seem to be performed often; at least, I cannot say it has ever come to my attention before. A couple of the names in this cast caught my eye, though: I really like Christian Gerhaher and Franz-Josef Selig. I’m less familiar with the distaff side of the cast. If you want to give this rarity a try, it will be broadcast live from the Staatsoper Hamburg this Sunday, October 28 on NDR Kultur. 

Living composer Lucia Ronchetti and her choral piece Inedia prodigiosa are both far from my usual interests, but the title of the work caught my eye and the description on the composer’s website piqued my interest. It reminds me of Caroline Walker Bynum’s book Holy Feast and Holy Fast, one of the most fascinating historical studies I have ever read. I’m not saying I’ll definitely listen—MMM is always a list of what catches my eye as I pore over the schedule prospectively, not a log of my actual listening—but if you’re interested, you can listen to a deferred broadcast this Sunday, October 28 on Rai Radio 3.

Broadcasts marked with an asterisk (*) are on radio stations known to me to have a history of archiving some or all of their live concerts online for listening on demand for at least a week after broadcast.

[verdiprati]

I’m not going to do a (new) Mostly Mezzo Mondays post this week but if you are into contraltos singing semi-obscure baroque rep, how about Vivaldi’s Giustino (in concert) with Delphine Galou in the title role? Cast also includes Emőke Baráth.