A major contribution to the recorded repertory, making clear just how effective Saint-Saëns’s The Yellow Princess could be on stage, its nowadays objectionable title repudiated by its varied and nuanced approach to the evocation of the exotic.
Attention is being paid today to talented composers who have been sidelined or disdained because of their race, ethnicity, religion, or sexual orientation. Reynaldo Hahn qualifies on several counts.
The world-premiere recording of a first rate production of a brilliant, fantastical opera, unstaged and unheard since 1914.
Bravo to the Bru Zane folks for this latest triumph! I encourage opera lovers to get to know this treasurable Spanish (or faux-Spanish) work by the pioneering master of nineteenth-century operetta.
This year has brought a bumper crop of wonderful recordings of unusual operas — and one unusual recording of a repertory staple: Gounod’s Faust.
Even taking into consideration my several objections, this Faust is one of the most accomplished and intriguing opera releases of recent years.
Gounod was no mere purveyor of gentle sentiments. This 1881 opera, superbly performed, shows plenty of drama and grit.
Marc Minkowski’s recording of Jacques Offenbach’s La Périchole pays the composer a handsome tribute in his birthday year; violinist Baiba Skride’s new all-Bartók disc is one of the year’s best.
This is one of the zippiest, most life-affirming opera recordings I have heard in a long time. Well, this puts it a bit too blandly, because the work’s social satire also targets the smug self-satisfaction and careless cruelty of the powerful.