Wolfgang Amadeus MOZART (1756-1791)
Litaniae Laurentanae in D major, KV 195 [32:55]
Litanae de venerabili altaris sacramento in E flat major, KV 243 [37:09]
Jennifer Vyvyan (soprano), Nancy Evans (contralto), William Herbert (tenor), George James (bass), Ralph Downes (organ)
The St. Anthony Singers
Boyd Neel Orchestra/Anthony Lewis
rec. 1954, London
ELOQUENCE 482 5041 [70:12]
Scenes and Arias
Joseph HAYDN (1732–1809)
Scena di Berenice “Berenice, che fai?” Hob XXIVa:10 [14:05]
Missa Santca Caeciliae (missa cellensis), Hob XXV:5
Laudamus te [4:48]
Quoniam [2:53]
Wolfgang Amadeus MOZART (1756-1791)
“Ah, lo previdi… Ah, t’invola aglo’occhi miei”, KV 272 [12:21]
“Cho’io mi scordi di te … Non temer, amato bene”, KV 505 [10:32]
Ah se in ciel, benign stele, KV 538 [7:27]
Mass in C minor KV 427 “Grosse Messe”
Credo: Et incarnates est [7:34]
Exsulte, judilate, KV 165
Alleluia [2:40]
Jennifer Vyvyan (soprano)
Haydn Orchestra/Harry Newstone
London Philharmonic Orchestra/Peter Maag
rec. 1956-1958, London
ELOQUENCE 482 5049 [63:01]
Eloquence reissues old gems with all the modern quality
and convenience of digital audio. It is marvellous to hear these historic
recordings. Not only does the first CD speak of Mozart’s time
as a court musician and his need to provide music for the many feast
days of the Roman Catholic calendar, but it is a beautiful snapshot
of music-making in the middle of the twentieth century. Jennifer Vyvyan
is of course the celebrity on both these discs. Her long and close relationship
with Benjamin Britten and the lead roles in some of his most well-received
operas gave her a platform to explore other contemporary works of this
time. She was especially sought-after as soloist for Baroque blockbusters
including the Bach Passions and Handel’s Messiah.
Vyvyan was a hugely skilled musician. However, the other musicians on
this recording go almost entirely unmentioned! Nancy Evans OBE was another
favourite of Britten’s—the role of Nancy in Albert Herring
was created for her. She has the same purity of tone as Vyvyan, making
them perfect duet partners in the solo sections, including the Sancta
Maria of KV 195. The Australian-born tenor, William Herbert, was
perhaps of less high profile during his English career, but he lends
his strong, controlled and confident voice to the ensemble. His starring
role is in the fourth movement of KV 195. He sets out in a declamatory
manner the drama of the text, which translates as Queen of the angels.
Yet this piece closes with Jennifer Vyvyan taking centre-stage again.
The Agnus Dei is spellbinding. The singer’s trills as
incredibly controlled, and the large leaps of register, are handled
gracefully. I particularly enjoy the warmth Vyvyan gives to the held
notes, gradually adding vibrato as a string player would. Anthony Lewis,
who will be remembered for his role as the first Chief Editor of Musica
Britannica as well as his work in reviving lesser known Baroque
works, picks slower tempi than is usual in similar works in performances
today. This slower tempo gives the soloists and choir time to shape
each phrase carefully.
Whilst slower tempi allow expressivity and careful shaping, the adverse
effect is a loss of excitement in faster movements. This is evident
in the Miserere section of the second movement of KV 243. The
soloist is given the limelight but the orchestral passages lack the
forward motion that would be more common in the 21st century.
A movement where the energy of the voices and instruments are more happily
matched is the fourth movement – Hostia Sancta. Vyvyan
fans will enjoy the solo passages where her long lines contrast with
the dramatic interjections from the Boyd Neel Orchestra. Vyvyan fan
or not, everyone will be captivated by the best movement on the CD –
Dulcissimum convivium. You will have to listen to it yourselves
to appreciate the technically demanding yet extremely emotive performance
here.
While the forces and techniques of opera and oratorio are similar in
many ways, there is nothing in Haydn’s sacred works quite like
the aria from Scena di Berenice. It allows a less restrained
performance from the super-star soprano. And what virtuosity! Some of
this open extroversion still remains in the Quoniam from Missa
cellensis. The speed chosen by Harry Newstone and the Haydn Orchestra,
as well as the inclusion of brass in this particular work, more closely
resemble modern performance practice and make for a very exciting rendition.
The somehow different sound quality and fuller timbre of the London
Philharmonic Orchestra detract from the unrestrained expression of the
previous tracks. Yet this does not hinder the stunning performance of
the “vocal concerto” (CD notes)—the famous Alleluia
from KV 165. Each performer of course has a unique interpretation of
frequently heard pieces like this. For a more deliberate approach to
articulation, try Barbara Bonney. For a fuller tone (and magnificent
perm) try Dame Kiri Te Kanawa. Both are available via YouTube.
There is no doubt that Jennifer Vyvyan was one of the most accomplished
performers of her day. Her unique sound yet self-assured performances
make both these CDs highly enjoyable. It is a pleasure to hear less-known
works by any great composer. Listening to the Litanies has
been very enjoyable. However, the recital-like programme on the Scenes
and Arias disc make it engaging and entertaining. Highly recommended.
Hannah Parry
