Pierre Boulez, Vol. XVI;  Heather Harper,  Melzer,  Hermann & Attinger  ( 2-St Laurent Studio YSL T-724)
Item# C1634
$29.90
Availability: Usually ships the same business day

Product Description

Pierre Boulez, Vol. XVI;  Heather Harper,  Melzer,  Hermann & Attinger  ( 2-St Laurent Studio YSL T-724)
C1634. PIERRE BOULEZ Cond. Süddeutscher Madrigalchor Stuttgart, w. Heather Harper, Friedrich Melzer, Roland Hermann & Günter Attinger: ALEXANDER'S FEAST (Handel). (Canada) 2-St Laurent Studio YSL T-724, recorded 1971. Transfers by Yves St Laurent.

CRITIC REVIEWS:

“Heather Harper, a Northern Irish-born soprano who was beloved for decades for her radiant voice and musical sensitivity in repertory ranging from Baroque to contemporary music, and who was a notable interpreter of the music of Benjamin Britten, in 1962 substituted for Galina Vishnevskaya in the premiere of Britten’s WAR REQUIEM. The work was written to dedicate the new Coventry Cathedral in England, the original 14th-century structure having been bombed into ruin during World War II. Ms. Harper, just turned 32, took her place and triumphed.

Reviewing her performance of Strauss’ ‘Four Last Songs’ at Carnegie Hall in 1969 with Kempe conducting the Royal Philharmonic Orchestra, THE NEW YORK TIMES critic Donal Henahan wrote that Ms. Harper’s reading was ‘an ennobling one, suffused with dignity and serenity, touched with autumnal sadness’. Her voice, he added, ‘produced the Straussian outpourings effortlessly’.

Helena, the young Athenian lover in Britten’s A MIDSUMMER NIGHT’S DREAM, was the role of Ms. Harper’s debut at the Royal Opera, Covent Garden, in 1962. Britten later chose her as Mrs. Coyle, the warm-hearted tutor’s wife, for the premiere of his opera OWEN WINGRAVE, written for television and first broadcast in 1971. She later recorded both operas with Britten conducting.

Her most notable Britten role was Ellen, the good-hearted schoolmistress in PETER GRIMES, in an acclaimed 1969 BBC production with Mr. Pears in the title role, which he had created 24 years earlier. It was conducted by Britten and staged by Joan Cross. Ms. Harper later performed and recorded the role with Jon Vickers, who brought smoldering intensity to his portrayal of Grimes, with Colin Davis conducting the orchestra and chorus of the Royal Opera.

Ellen was also one of two roles she sang at the Metropolitan Opera in 1977 during her only season with the company. Yet she also brought shimmering sound and tenderness to works like Handel’s MESSIAH, which she recorded in 1966 in a classic version with Mr. Davis conducting the London Symphony Orchestra and Chorus.

Ms. Harper’s stage debut in opera came in 1954 with the Oxford University Opera Club in an unlikely role: the fierce Lady Macbeth in Verdi’s MACBETH, a punishing part. From that point on her career progressed steadily, with appearances at Covent Garden, the Glyndebourne Festival and major houses in Amsterdam, Toronto, Buenos Aires and elsewhere.

Ms. Harper, a woman of good cheer and dedication, became a favorite of the tempestuous conductor George Solti, who brought her to the Chicago Symphony Orchestra for several major performances during the late 1960s and 1970s, including Haydn’s THE CREATION and Mahler’s ‘Resurrection’ Symphony.

She was a soloist in Solti’s milestone recording of Mahler’s epic Eighth Symphony, also with the Chicago Symphony, in Vienna; it won three Grammy Awards in 1972.”

- Anthony Tommasini, THE NEW YORK TIMES, 24 April, 2019



“Indeed, Boulez is the most acclaimed and influential ‘serious’ composer of our time, venturing way beyond exploring extensions of conventional tonality into serial, aleatory and electronic idioms. While his Berlioz, Mahler and Bruckner often seem cold and calculated (presumably out of a fellow-composer's extreme respect for the sufficiency of the scores), his Debussy and Ravel run the full gamut of emotion, with extreme tempos both urgent and patient. More than any other distinctive feature, Boulez brings out the full splendor of Ravel's variegated orchestration, with constant focus on the ever-shifting and evolving instrumental textures, while maintaining a clear, ‘modern’ sound - analytical without being clinical.”

- Peter Gutmann