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REVIEWS<br />
» cds • dvds• books<br />
A Napoli<br />
Marc Hervieux, tenor; Louise-Andrée Baril, piano &<br />
orchestral arranger<br />
ATMA Classique ACD2 2620<br />
★★★★✩✩<br />
One of the most versatile<br />
tenors in Canada, Marc<br />
Hervieux is at home in a<br />
variety of genres, from<br />
opera and oratorio to the<br />
pop field, including success<br />
in the blockbuster<br />
rock opera Starmania.<br />
For ATMA he has recorded an opera aria disc<br />
with Yannick Nézet-Séguin and a Christmas<br />
album. Here is his third, a collection of fifteen<br />
beloved Neapolitan songs, supported by ten<br />
Québecois musicians led by Louise-Andrée Baril.<br />
Given his robust tenor with a decidedly Italianate<br />
timbre that occasionally recalls a young Domingo,<br />
these Neapolitan songs are tailor-made for him.<br />
No, it’s not note-perfect— the passaggio and the<br />
top can sound a little uncomfortable, and he<br />
sometimes croons, but he sings everything with<br />
passion and gusto, two welcome qualities in this<br />
repertoire. Baril is responsible for the orchestral<br />
arrangements— occasionally one is in danger of<br />
an overdose of sweetness and sentimentality, but<br />
that goes with the territory! Incidentally,<br />
Hervieux dedicates the disc to music philanthropist<br />
Jacqueline Desmarais, who has been a<br />
champion of the tenor from the beginning of his<br />
career. Fans of Hervieux will find this disc most<br />
entertaining and an excellent choice as a Christmas<br />
stocking stuffer.<br />
Joseph K. So<br />
Bach: Cantatas BWV 54 & 170/Suite in A minor<br />
BWV 1067/Double Concerto BWV 1060<br />
Daniel Taylor, countertenor; Tafelmusik/Jeanne <strong>La</strong>mon<br />
Analekta AN 2 9878 (68 min 46 s)<br />
★★★★★✩<br />
Analekta has presented<br />
us with two of Bach’s<br />
most beautiful cantatas<br />
for alto. With “Pleasant<br />
rest” BWV 170 for oboe<br />
d’amore, organ obbligato<br />
and strings, we immediately<br />
fall into a state<br />
of grace, and remain there until the end of this<br />
magnificent recording. What lovely sounds,<br />
lights and shadow that caress the soul, tears<br />
and joy inspired by a heavenly moment! Daniel<br />
Taylor sings with great artistry and demonstrates<br />
perfect mastery of his pure voice. The<br />
countertenor seems to surrender completely to<br />
the music. The same attention is accorded to<br />
BWV 54, “Just resist sin”. More staccato in the<br />
strings could have better highlighted the text;<br />
however, we are swept up by the rich timbre<br />
42<br />
DECEMBER 2011 / JANUARY 2012<br />
and the mind surrenders. Next, BWV 1067 is<br />
performed in a version for violin and strings.<br />
Such elegance in the rondeau, tenderness in<br />
the sarabande! Jeanne <strong>La</strong>mon conducts her<br />
ensemble (one instrument per part) with such<br />
skill that the version for flute is forgotten. The<br />
BWV 1060 is also absolutely superb. By contrast,<br />
the sorry look of the record sleeve does<br />
not do justice to the quality of the performers<br />
it represents.<br />
RENÉ F. AUCLAIR<br />
Bartok: Violin Concerto No. 1/<br />
Violin Concerto No. 2/Viola Concerto<br />
James Ehnes, violin and viola; BBC Philharmonic/<br />
Gianandrea Noseda<br />
Chandos CHAN 10690 (77 min 45 s)<br />
★★★★✩✩<br />
Canadian violinist James<br />
Ehnes has moved very<br />
rapidly to the forefront of<br />
the ranks of the world’s<br />
great violinists. He is at<br />
home in a wide repertoire<br />
and plays with both maturity<br />
and virtuosity. This<br />
Bartok album is surely one of his best so far as he<br />
demonstrates prowess on both violin and viola.<br />
Bartok’s Violin Concerto No. 2 is “the” Bartok<br />
Violin Concerto and is well established as a<br />
Twentieth Century masterpiece. The Violin<br />
Concerto No. 1, an early work, is far less well<br />
known. The Violin Concerto No. 2 is a far more<br />
varied and original piece, but the earlier concerto<br />
has charms of its own and deserves more<br />
performances. Ehnes plays both of them on the<br />
1715 “Marsick” Stradivarius, with a remarkably<br />
rich tone and complete understanding of the idioms.<br />
Noseda and his orchestra are wonderful<br />
and the sound quality on this disc is excellent.<br />
The Viola Concerto was left incomplete<br />
when the composer died, but Tibor Serly produced<br />
a performing version from the sketches,<br />
which is the version Ehnes used. It is a<br />
beautiful piece, and Ehnes gives a fine<br />
performance.<br />
PAUL E. ROBINSON<br />
Brahms on Brass:<br />
Waltzes Op. 39/Ballade in D minor Op. 10<br />
No.1/Eleven Chorale Preludes Op. 122<br />
Canadian Brass<br />
Opening Day ODR 7415 (50 min 25 s)<br />
★★★✩✩✩<br />
The Canadian Brass has<br />
now become one of the<br />
oldest ensembles of its<br />
kind. After 40 years it is<br />
not surprising that there<br />
have been changes in<br />
personnel—tubist Chuck<br />
Daellenbach is now the only original member<br />
left in the group – but the same high standards<br />
and astonishing versatility remain intact.<br />
But Brahms on Brass? And an entire album?<br />
The Canadian Brass has always been innovative<br />
in its choice of repertoire, but this is a real<br />
stretch. The composer’s contrapuntal proclivities<br />
and preference for darker colours work<br />
against the idea of brass transcription. However,<br />
I was pleasantly surprised by the Waltzes<br />
Op. 39, originally composed for piano duet, as<br />
arranged by Chris Coletti and Brandon Ridenour,<br />
CB’s two trumpeters. This is some of<br />
Brahms’ lighter music, and CB plays them with<br />
a wonderful sense of style, fine trumpet playing<br />
and a great feeling for rhythm and phrasing.<br />
The other major work is the Op. 122 Chorale<br />
Preludes arranged by Ralph Sauer. This is<br />
heavy duty late Brahms and even in its original<br />
version for organ it hardly makes for easy<br />
listening. In the brass arrangement, the trumpet<br />
writing sounds awkward and the problem<br />
of sustaining tone in slow-moving music—a<br />
non-existent issue on the organ—becomes a<br />
major liability.<br />
PAUL E. ROBINSON<br />
Bruckner: Symphony No. 4 “Romantic”<br />
Orchestre Métropolitain/Yannick Nézet-Séguin<br />
ATMA Classique ACD2 2667 (69 min 47 s)<br />
★★★★✩✩<br />
Nézet-Séguin is slowly<br />
working his way through<br />
recording all nine Bruckner<br />
symphonies and this<br />
is the latest installment.<br />
Once again one is astonished<br />
by the quality of<br />
playing and conducting.<br />
The Orchestre Métropolitain sounds just as<br />
good as most of the famous orchestras which<br />
have recorded the work. Most of the credit must<br />
go to the players, but Nézet-Séguin sets the<br />
standard and imposes a vision that is both exacting<br />
and emotional.<br />
The conductor uses the 1936 Haas edition,<br />
which is essentially the standard version.<br />
Nézet-Séguin adds nothing in the way of interpretative<br />
surprises. This is a mature reading<br />
that pays careful regard to tempo,<br />
dynamics and balance, while building the<br />
massive climaxes with care and nobility. Having<br />
recently heard Nagano and the OSM<br />
perform this work in the new Maison symphonique,<br />
comparisons come easily to mind.<br />
Both orchestras play very well indeed and<br />
Nagano is an even more experienced Brucknerian<br />
than Nézet-Séguin. Yet I would give the<br />
edge to Nézet-Séguin for the greater joy and<br />
exuberance of his interpretation. The finesounding<br />
ATMA recording was made in the<br />
Saint-Ferdinand Church. PAUL E. ROBINSON<br />
Bruckner: Symphony No. 7<br />
Bayerisches Staatsorchester/Kent Nagano<br />
Sony 88697909452 (64 min 17 s)<br />
★★★✩✩✩<br />
Kent Nagano recently conducted the OSM in<br />
Bruckner’s Symphony No. 4 at their new hall in