The version of Mozart’s Requiem most frequently performed today – and heard on this recording – is Süssmayr’s completion. Many have labelled his edition as a rushed, student effort (his own opera, ‘Moses’, was postponed due to his working on the Requiem) while others believe that no new edition or reworking, irrespective of how learned […]
This recording of ‘Die Meistersinger’ was one of the first operas released on LP by Decca in January 1952. Act II was recorded in 1950 and released separately; a year later came Acts I and III. It was also the first complete studio recording of the opera to be released on LP and came early […]
Shakespeare’s plays and their incidental lyrics have always been popular with composers from Thomas Morley to Benjamin Britten. There must be many hundreds of Shakespearean settings, ranging from simple songs to full-length operas. One of the most fruitful periods for such settings was the eighteenth century when there were frequent reveals of the plays themselves […]
Vladimir Ashkenazy recorded three of the Beethoven symphonies for Decca and this coupling of two of the most popular date from the early 1980s. They are grand and expressive readings, at once thrilling and visionary.
Die Frau ohne Schatten (The Woman without a Shadow) which Richard Strauss composed with his long-time collaborator, the poet Hugo von Hofmannsthal, received an unenthusiastic premiere in Vienna on 10th October 1919. Hofmannsthal’s complicated and heavily symbolic libretto was cited as one of the problems. However, it is now a standard part of the operatic […]
Both Strauss’s ‘Elektra’ and Stravinsky’s ‘Oedipus Rex’ trace their lineages back to Sophocles, the Greek dramatist who lived in the fourth century BC. Both are stories of the avenging of a royal father’s murder, either by surviving family members (‘Elektra’) or by Fate or the gods themselves (‘Oedipus Rex’). Even from an early age, Georg […]
‘From Melba to Sutherland: Australian Singers on Record’ is the first-ever comprehensive survey of the recordings of Australia’s greatest singers – in a unique, new, 4CD set from Decca, complete with biographies of each of the 80 artists, rare photographs, all contained within a 68-page booklet. Why has there been such an extraordinary procession of […]
In the summer of 1804, while on a summer holiday in the village of Conventello near Ravenna, Rossini then aged twelve, composed his six ‘Sonate a quattro’ for two violins, cello and double-bass. Many years later, the composer wrote on the front of the manuscript: ‘First violin, second violin, violoncello and contrabass parts for six […]
For all the popularity and reinvention that now surrounds Antonio Vivaldi’s collected violin concertos known as ‘The Four Seasons’, it is difficult to believe there was a time when they were completely unknown. Like Vivaldi himself, whose once lofty reputation fell into complete obscurity following his death in Vienna in 1741, ‘The Four Seasons’ travelled […]
In 1872, when he composed his Cello Concerto No. 1, Camille Saint-Saëns was 37. Although he had already enjoyed a few successes, at that time he was far from being the established and well-respected figure in French music that he later would become. Nearly three decades went by before Saint-Saëns composed his Cello Concerto No. […]
Thomas’s opera Hamlet contains one of the most famous of all ‘mad scenes’ for the soprano, something of which Joan Sutherland made a speciality. In 1983, she recorded the opera in what was to be one of her final recordings of complete operas. The set is adorned with Michael Stennett’s beautiful portrait of Sutherland as […]
Stravinsky began work on ‘Petrushka’in the summer of 1910, shortly after the successful première of his first ballet, ‘The Firebird’. Like ‘The Firebird’, and ‘The Rite of Spring’ which came later, ‘Petrushka’ was written for Sergei Diaghilev’s Ballets Russes. The choreographer was Mikhail Fokine and the title role was danced by the mercurial, Vaslav Nijinsky. Nijinsky […]
