Camille Thomas VOICE OF HOPE

VOICE OF HOPE

Alison Balsom / The Englsih Concert / Trevor Pinnock SOUND THE TRUMPET

An interview in the booklet for this disc takes a long time telling us why Alison Balsom has picked up a Baroque trumpet for this disc but EMI could have saved their ink, for when the instrument is played as fluidly agreeably as it is here, nobody could doubt that it is the right tool for the job (and it’s not, by the way, the first time she has recorded on one – in 2002 she made an admired debut with the Parley of Instruments for Hyperion.

Balsom’s real point, however, is that it was the valveless trumpet’s vocal quality, its ‘human characteristic’ that informed its music and it is this above all that she demonstrates through her choice of music for this album. For it is not fanfares and tattoos that dominate, nor even concertos, but a smartly selected sequence of trumpet cameos from the theatre scores and elegant social music of Purcell and Handel. Some are real, including symphonies from Purcell’s semi-operas or Handel’s Eternal source of light divine; in some, such as Purcell’s ‘Plaint’ and Handel’s Oboe Concerto No 1, she borrows other instruments’ lines; and others see her literally slip into the singer’s place, most strikingly in Purcell’s ‘Fairest Isle’ and ‘Sound the trumpet’.

And it all works. This is rattling good music, and so easily does the trumpet fit into it that often it is hard to recall what the original scorings were anyway. Balsom, too, sounds utterly at home, whether intertwining coolly spun traceries with oboe and violin in the wondrous Symphony from King Arthur or merrily disporting in Handel’s Water Piece. She’s ably partnered by two of the finest young Baroque singers in the business (Lucy Crowe especially impressive in ‘The Plaint’) and wonderfully backed by the English Concert and the bright natural musicianship of Trevor Pinnock. Never mind the whys and wherefores – just sit back and enjoy! (Lindsay Kemp / Gramophone)

Carolyn Sampson / Iestyn Davies / Joseph Middleton LOST IS MY QUIET

Carolyn Sampson and Iestyn Davies have collaborated on many occasions in the field of Baroque opera and oratorio, but on this occasion they venture into a somewhat different territory. In the company of Joseph Middleton, they have been exploring the Lieder for one and two voices of Mendelssohn and Schumann, combining them with songs and duets by Roger Quilter. And even though the disc actually opens with a set of Purcell songs – repertoire which both singers have previously made their mark in – they are here performed with the piano accompaniments realized by Benjamin Britten, turning them into something quite new and different.

‘Creamy’, ‘luminous’ and ‘supple’ are words that often appear in reviews about both Carolyn Sampson and Iestyn Davies, and in these duets they achieve a marvellous blend as well as the utmost precision. They are aided in this by Joseph Middleton, described in The Telegraph (UK) as an ‘unfailingly sensitive accompanist’

Emerson String Quartet MUSIC OF BRITTEN AND PURCELL

The Emerson String Quartet is celebrating its 40th anniversary season with a number of projects, including this recording that features Britten's String Quartets Nos. 2 and 3 as well as a selection of chaconnes and fantasias from Purcell, including Chacony in G Minor, Z 730 and Fantazia No. 11 in G Major, Z 742. "It’s hard to believe that the music on this CD spans almost three centuries, ranging from Purcell’s surprisingly pungent harmonies to Britten’s distinctive voice: pitched outside the mainstream of European modernism, experimental yet deeply rooted in his extensive knowledge of older music, drawing inspiration from and breathing new life into old forms," said violinist Eugene Drucker. In addition to being a celebration of its 40th anniversary, this is the ensemble's first feature recording to include cellist Paul Watkins, who joined in 2013. (Laurie Niles)

Pumeza Matshikiza ARIAS

South African lyric soprano Pumeza Matshikiza is one of today’s rising opera stars. An exclusive Decca Classics recording artist, her debut album ‘Voice of Hope’ was released in 2014. Her second album ‘Arias’ will be released in May 2016 showcasing her operatic roles from Purcell to Puccini and newly arranged art songs by Faure, Hahn and Tosti.

Pumeza Matshikiza opened the 15/16 season singing solo concerts in Copenhagen, Gothenburg and Krakow. In October she made her debut with Sir Antonio Pappano and the Orchestra dell’Accademia Santa Cecilia in Rome, singing the world premiere of Luca Francesconi’s Bread, Water and Salt, based on the famous speech by Nelson Mandela. These opening concerts of the Santa Cecilia season were broadcast live by RAI and she will reprise this new work as part of Radio France’s Festival Présence in February 2016, Mikko Franck conducting the Orchestre Philharmonique de Radio France. On the operatic stage Pumeza sings Mimì (La Bohème) and as well as making her role debut as Micaёla (Carmen), both at the Staatsoper Stuttgart where she has been a leading ensemble member for the past three seasons. Her roles in Stuttgart have included Susanna (Le nozze di Figaro), Ännchen (Der Freischütz), Zerlina (Don Giovanni) and Pamina (Die Zauberflöte).

Pumeza’s second album ARIAS is a collection of many of the great opera roles in which Pumeza has blossomed: Mimì in La Boheme; Susanna in Le Nozze di Figaro; Liù in Turandot; Dido in Dido & Aeneas; Concepcion in L’heure espagnole together with such operatic greatest hits as ‘The Song to the Moon’ from Rusalka and ‘Ebben, ne andro lontano’ from La Wally.

The album also features new arrangements of art songs such as Faure’s ‘Après un rêve’ and Reynaldo Hahn’s A Chloris as well as a Rosa Ponselle favourite, Tosti’s ‘Si tu le voulais’

Also included are arrangements of Sarti’s famous aria ‘Lungi del caro bene’ made by DECCA for Renata Tebaldi in the 1970s and recorded here for the first time since then and an arrangement of the classic song ‘La Paloma’ originally made for Victoria de los Angeles.

Magdalena Kožená / Christian Schmitt PRAYER Voice & Organ

“If we live on this planet, we must surely believe in a higher power, whatever that may be. That is something I feel when I perform this music.”-- Magdalena Kozena

The new recording from Magdalena Kozena features deeply-felt interpretations of sacred songs from the Baroque to the 20th Century In a rare recording collaboration, she is joined by virtuoso Christian Schmitt, in music for voice and organ from the sacred traditions of Germany, Austria, France and England, as well as her native Czechoslovakia.
Of course, the album includes music by J.S. Bach – a composer with whom Magdalena Kozena has long been associated - with sacred aspects of German song represented by Hugo Wolf and Schubert The French tradition is heard in the music of Bizet, Ravel and the great Parisian organist Maurice Durufle.
Bizet’s Agnus Dei and Verdi’s Ave Maria reveal less familiar aspects of composers more often associated with opera houses than churches, whilst Henry Purcell’s setting of The Blessed Virgin’s Expostulation showcases Magdalena Kozena’s extraordinary ability to inhabit musical drama Her continuing commitment to the music of her Czech homeland sees the inclusion of music by both Dvorak and Janacek.
‘The Czech mezzo . . . produces one of the loveliest sounds to be heard on the world’s stages – a flowing, spring-water-like tone that evokes the term ‘luminous’.’ - Opera News For this recording, Christian Schmitt plays the 2009 Goll organ of the University for Catholic Music & Teaching, Regensburg.

Elin Manahan Thomas ETERNAL LIGHT

The Welsh soprano won a choral scholarship to Clare College, Cambridge where she read Anglo-Saxon, Norse and Celtic. Thomas joined the Monteverdi Choir in 2000 and has sung with The Sixteen, Polyphony, Cambridge Singers and the Gabrieli Consort. Increasingly she is in great demand as an international soloist. Thomas has specialised in performing early music especially with the choral group The Sixteen. Her release titled Eternal Light on Universal covers music from the Renaissance and the Baroque period. The release titled Byd Y Soprano - Soprano World comprises mainly music from the Romantic period with some Classical and a Baroque piece. Late-Romantic music is not repertoire that one usually associates with Thomas in solo performance. It is not surprising that this highly talented singer will want to show her versatility by singing a wide range of repertoire. This stance will naturally invite comparisons with the finest singers in world. I cannot think of a finer exponent of early music around today than Thomas. Her soprano voice has an exceptional purity, with a silky smooth tone and light creamy fluidity. The voice isn’t heavy but neither is it over-bright and piercing. When listening to The Sixteen I was easily able to distinguish her voice owing to its clarity and carry yet I wouldn’t describe it as being over-distinctive. On the disc Eternal Light Thomas’s performance was a revelation, revealing a glorious voice of elevated quality which wonderfully suited to Renaissance and Baroque music. I believe it to be superior to Emma Kirkby in her prime. Of the sixteen well chosen tracks not one disappoints. In addition there are two ‘killer’ tracks that are so exceptional, containing a special element of spirituality that one rarely encounters. Those ‘killer’ tracks are Eternal Source of Light Divine and When I am laid in earth (Dido's Lament) from Purcell’s opera Dido and Aeneas. Eternal Light is worth obtaining for those two tracks alone. I have played selections from this release at several Recorded Music Societies and Thomas’s performances have drawn considerable attention.(Michael Cookson)

LES Sopranos

The term 'soprano' encompasses a wide variety of voices. First come the coloratura sopranos, outstanding for their high notes. Patricia Petibon is a great example; her voice is both agile and pure in Henry Purcell s "Bid The Virtues", in which she and an oboe share a subtle musical conversation. Voices like Julia Lezhneva's, which negotiate wide leaps between the low and high registers, are known as coloratura mezzos. Lezhneva performs two excerpts from Italian opera here: the first, from Vivaldi's 'Orlando Furioso', and the second from Rossini's 'La Donna Del Lago'. The term "light" soprano refers to a bright voice that is at home in the baroque and classical repertoires. Sandrine Piau, an exceptional Mozart performer, gives a dazzling rendition of "Ach, Ich Fühl's" from 'The Magic Flute'. Barbara Schlick, who stands out for her interpretations of Bach's music and her great respect for the text, sings an excerpt from his Cantata BWV180. Magnificent performances by light sopranos Rosanna Bertini, in Monteverdi's "Lamento Della Ninfa", and Gemma Bertagnolli (in "Cujus Animam" from Pergolesi s 'Stabat Mater') round out the programme. A "lyric" soprano generally indicates a voice with a solid and generous medium register. Lyric sopranos are excellently suited to Handel's music. Here Lucy Crowe offers a convincing version of his "The Soft Complaining Flute" from the 'Ode For St. Cecilia's Day'. Veronica Cangemi's dark tone takes the well-loved "Lascia Ch'io Pianga" to new poetic heights, and Karina Gauvin demonstrates astounding control in "Piangerò" from 'Giulio Cesare'. Maria Bayo displays her abilities as a lyric soprano with an aptitude for coloratura singing in the exquisite "Exsultate Jubilate" by Mozart. The "dramatic" soprano is the most intense soprano voice, as Véronique Gens, a habitué of tragic roles, ably shows in an excerpt from Mozart's 'Don Giovanni'. These vocal categories do not define a singer for the whole of her career, however, and certain sopranos change registers with the passing years. Gäelle Arquez's rare recording of "Amerò" from Vivaldi's 'Orlando' demonstrates her talents as both a soprano and as a mezzo. Other voices simply defy classification. Such is the case of the inimitable Felicity Lott, who sings "Plaisir d'amour" with typically immaculate diction. Of course this collection is slanted towards the Naive back catalogue which excludes many of the greatest sopranos but it certainly does illustrate the different types of soprano with an interesting selection of songs. We might have preferred a greater emphasis on explicitly Christian music and, personally, could have done without the references to the popular television drama of the same name but if the gimmick encourages even one listener to give this mid-price CD a try then it will have been worthwhile. (Steven Whitehead)

Patricia Petibon NOUVEAU MONDE Baroque Arias and Songs

With Christopher Columbus (yes, him from 1492) joining Harnoncourt, William Christie and Savall on the dedicatees’ list, Petibon’s new release explodes like an alt-folk concept album. As Basle’s La Cetra, plus certain South American obbligato instruments, Baroque and baroll behind the French soprano, it can get loud – José de Nebra’s opening zarzuela aria (1744) sounds like an attempt at all four Handel Coronation Anthems in less than six minutes while Petibon’s contribution mixes a tale of shipwrecked love with yelping early salsa-style vocalises. For contrast there’s a serene ‘Greensleeves’ and a wonderful, painfully impassioned (if exotically pronounced) ‘When I am laid in earth’ – with most imposing continuo – to vary the emotional dynamic. Then the mocking demons in Charpentier’s Médée and their grungy accompaniment (the effect accentuated by the timbre of the ancient instruments) sound like evident contemporaries of Purcell’s witches and sailors. Andrea Marcon’s band rightly get a break of their own, a dance actually, in further Charpentier before their whistles and thundersheets kick up the storm that nearly overwhelms heroine Emilie in Les Indes galantes. We may be on the way to a ‘new world’ – Petibon’s booklet interview links up influences which include Brazilian rock radio, Michael Haneke’s Don Giovanni and Cortés’s Conquistadors – and we reach it eventually at Purcell’s ‘Fairest isle’ (the English again rather special) but there’s sure plenty of well-acted vocal heartbreak on the way. And folk rock – try the version of the traditional ‘J’ai vu le loup’ or the Peruvian ‘Tornada La Lata’.

Like her equally Spanish-tinged ‘Melancolia’ album – but with totally other colours – ‘Nouveau monde’ is a tightly thought-through and arranged and compelling programme, a tour de force for its performer/ compiler, most atmospherically recorded (Rainer Maillard) in Basle’s Martinskirche. Compulsive, repeatable listening.

(Mike Ashman)

Alison Balsom SOUND THE TRUMPET Royal music of PURCELL & HANDEL

It would seem that Alison Balsom has become about as popular as a classical trumpet player can be. She has a half dozen well-received recordings. She plays the Haydn with warmth and grace, with a clear, penetrating tone. Her cadenza in the first movement is ideal in demonstrating her virtuosity without distracting us from the (eventual) flow of the movement. In this new disc, expertly accompanied by Trevor Pinnock and the English Concert, she plays mostly transcriptions and all on natural, valveless trumpets. She calls such instruments “an adventure.”
One of her adventures, which does sound entirely natural, is taking the second countertenor part on Purcell’s Sound the Trumpet, playing alongside the countertenor Iestyn Davies. As the part was meant to have trumpet-like phrases as well as introduce a trumpet later, this transcription seems virtually to be taking Purcell at his word. Not so inevitable is Handel’s Oboe Concerto with the trumpet taking the solo part. It’s hard to hear this concerto without an oboe echoing in one’s head, but, according to Balsom, the performance is meant to extend our understanding of the emotional range of the trumpet. Davies is also heard to great effect on Handel’s Eternal source of light divine, where Balsom sounds virtually heavenly in her responses. Lucy Crowe is heard in “The Plaint” from The Fairy Queen. Again, Balsom is a sensitive second voice. Balsom and Pinnock have assembled suites of music from Purcell’s longer works, and made a somewhat new thing out of Handel’s Water Music. At times they make the trumpet sound like a plaintive voice: Mostly it is celebratory and outgoing, or dignified and martial, as in the Overture to Atalanta. The recorded sound is excellent; the playing superb. I am sure that these performances won’t replace the original settings, but they cast a fresh, charming light on music many of us already know.(Michael Ullman)