Rus News Journal

Not in a bird happiness

Sergey Hodnev about “ the Magic drum “ and Alexander Alyabyev`s other little-known products

A. Alyabiev: “ The Magic Drum “. Orchestral and Incidental Music
Musica Viva, A. Rudin (Fuga Libera)
“ Alyabyev. “ a nightingale “ “. A combination of words, relentless, as “ Kalinka - malinka “ or “ a polonaise Oginsky “ and it is so relentless from it blows as any humiliating melancholy. As by request, flashing transfer of all-Union radio " is represented; In working midday “ or any gloomy evening of Russian romance - well, that as though are specially conceived for otbivanija any sympathy for a romance and vocal music in general. Even here and the Belgian label Fuga libera, and that on a cover of the album devoted to Alyabyev places all the same in what not a guilty bird. Though under this cover absolutely, absolutely another - that Alyabyev whom we do not know which we have never heard.

the reader waits for a rhyme “ roses “. Well, really terribly it would be desirable to burst in an expected tirade: here supposedly this disk which has been written down by orchestra Musica Viva under control of Alexander Rudin, opens to us a unique material which compels to reconsider our representations about Russian music glinkinskogo time; it returns to us “ the Siberian Rossini “ the person of difficult destiny (stolbovoj a nobleman, the officer, is arrested in 1825 - m and it is banished; as Famusov, " would exclaim; ah, My God, it karbonary! “) Writing - well it is necessary! - such class and such European band music; and as happily our time, in which of oblivion it is taken to relieve us of satiation the same names, such quantity pervorazrjadnoj, but little-known music of the past.

as on spirit: absolutely to wait for shattering delight and total revaluation of values all - taki it is not necessary. Yes, in Alyabyev`s Soviet period willingly wrote down in a victim of tsarism and practically in Decembrists though have arrested the composer in March and besides on not so bajronicheskim to charges (the maintenance of a gambling den and drawing of mutilations in the heat of game), but it biographic, is nonsense. That to music, then are written down, in - the first, the overture to the vaudevilles, which names already sound music (“ Young mother and the groom in 48 years, or House performance “ let us assume, well a charm that such); there is still a music to ballet “ the Magic drum, or the Consequence “ Magic flute “ “ - absolutely intrigujushche. And music that zanjatno, in all these cases far not vaudevillian quality - not that that the new word in comparison with the European coryphaeuses of early romanticism, but is thoughtful, to unconditional taste, charm and grace which hardly loses to composers of Italian belkanto, whose orchestra mischievously compared with “ the big guitar “. An album in general also rather representative. Besides this pleasant theatrical music is also effective exercise in programmnosti - a symphonic picture “ the Storm “ and also dear violin variations on a song theme “ Iõàâ kozak for Danube “ (with quite good solo Alexander Trostjansky). All is truth at least the interesting things much speaking if and not about genius of the author “ the Nightingale “ about level of Russian musical culture of its time. And the more pleasantly that on this disk which is addressed first of all to the western audience, they sound performed by Alexander Rudin and its orchestra, was able and is thin combining sensation infectious pervootkryvatelskogo enthusiasm with the extremely tempted professionalism.




“ Mozart Donna “
D. Damrau; Le Cercle d ` Harmonie, J. Rhorer (Virgin Classics)
Koronnoj long enough was considered as Diana Damrau`s party the Tsarina of night in “ to the Magic flute “ Mozart that it is no wonder, considering gymnastic coloratura abilities of the singer and the strong, distinctly pointed tops of its soprano. Fairly deserved role gifted motsartovskoj frau Damrau, apparently, at all does not constrain the singer, however its this album - the demand for serious expansion and repertoire (in motsartovskih borders), and even a range. Accordingly, the tempting moments here two. In - the first, the disk looks a hit - sheet, probably, the best sopranovyh the arias created by Mozart for all his career. Tsarinas of night here are not present, but there is Pamina. In other program are proudly compared raznjashchiesja on a texture of number from the same operas, taken of those parties which sing lyrical sopranos, and that charge to deeper voices. Sjuzanna from “ Figaro “ and the Countess; donna Anna and donna Elvira therefrom, from “ Don Zhuana “; Servilija and Vitellija (“ Mercy of Tita “) .

In sense of quality on an exit idea a little strange, especially against Diana Damrau`s previous album (which has been devoted sijatelnym to Mozart`s bravura arias and its contemporaries - it is whimsical, but all - taki is more adequate). It, of course, in studio conditions yet that can be made, but what for? The absolute luxury in the colouring of a voice of the singer all the same is not present, and even freshness is small; it is possible to applaud absolutely sincerely to its musicality, intelligence and diligence, but all the same total impression rough. Sjuzanna, let us assume, or donna Anna, or Constance (from “ Abductions from a seraglio “ - a local brutal aria “ Martern aller Arten “ too to the program has got) - all of them impress with slightly released carefulness of work though concert arias, perhaps, appear more strongly, more interesting and more deeply. And here any Vitellija already a trouble, moreover and - about horror! - a trouble dullish: the voice sounds is fresh, bottoms squeezed out. And in general, you begin, leaving alone tehnichnost singers and its enviable control over own vocal device, to doubt that this Puritan treatment in a case motsartovskih donn how many - nibud is adequate.


“ In darkness let me dwell. The Seven Shades of Melancholy “
Dorothee Mields, Hille Perl, Lee Santana. Sirius Viols (Deutsche Harmonia Mundi)
John Daulend, one of the most popular composers of an epoch of the English Golden Age, for inhabitants of foggy Albion about the same that Schubert for Germany. It is difficult to name the British vocalist who would not address to its melancholic songs. Now possibility to estimate as treat Daulenda Germans is given us. The new album to which the first line of one of the most known songs of the composer is premised, is inspired by a young German soprano of Doroteej Milds and the performer on viole yes gamba to Hilla the Pearl. The light voice of Milds in this music sounds almost ideally - with the British carefulness, but also with more sanguineous, than at the majority of English sopranos, a timbre and more expressive phrasing. Accompaniment viol and lutes compatriots of Daulenda would find too heavy - in interpretation to Hilla Perl Daulend looks more likely the representative of early baroque with its theatricality, rather than the late Renaissance.


Donizetti: Imelda di Lambertazzi
Nicole Cabell, James Westman, Massimo Giordano; Orchestra of the Age of Enlightenmet (Opera Rara)
it is Gaetano Donizetti`s absolutely unknown opera - “ Imelda di Lambertatstsi “ it is created shortly before the first big triumph of the author “ Annas Bolejn “. The plot suspiciously reminds Shakespearean “ Romeo and Juliette “; thus the leading man`s party contrary to all canons is given not to the tenor, and a baritone. The opera ending amazes with a tragical tipping over: The beloved of the main heroine is killed by her brother, having put it blow by the poisoned sword, and Imelda, trying to exhaust from a wound poison, too perishes, having had time to draw before death upon itself a damnation of the father. Despite so grandiloquent ending, opera music gives few occasions to reproaches. In it, as always Donizetti, have fine arias and ensembles, and soloists - a young American soprano Nicole Kejbl, its compatriot a baritone James Uestman and Italian Massimo Dzhordano much - parties protagonistov execute with skill. Special plus - participation in record of the Orchestra of a century of the Education using original tools of first half of a XIX-th century.