INTRODUCTION TO PUCCINI
With the release of Andrea Bocelli's first full-length opera recording, "La Boheme," many music lovers who've never encountered a complete opera before will take the plunge. And in his tragicomic portrait of the lives of a circle of young bohemians, Giacomo Puccini created what is in many ways the quintessential opera--which also became the inspiration for one of the most successful musicals of the 1990s, "Rent." "La Boheme" makes a perfect entree for the budding opera lover. Try out our Get Started in Classical feature--which includes an audio tour--and explore Puccini's "La Boheme."
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WORD FOR WORD
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"I would of course hope that the resonances of the music might touch the spirit--again, a concept not understood by modernists. One cannot speak of Platonic modes which represent spiritual states in this age, but I would hope to communicate something subliminally to the listener. Culturally speaking, I am afraid that we are not living in propitious times, but I think that there are many people out there who long for the 'sacred,' but cannot articulate it as such." --John Tavener, on the occasion of his new release "Fall and Resurrection," speaking about the religious sources of his music. Read the entire interview with Tavener:
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NEW AND NOTABLE
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"Handel: Alcina"
Natalie Dessay, Renee Fleming, Susan Graham, et al.; Les Arts Florissants; William Christie, conductor
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If you missed Renee Fleming's portrayal of Handel's sorceress on stage early in the season, get ready to queue up. Fans of Fleming--as well as Susan Graham and Natalie Dessay--will find something not only to please but to induce paroxysms of delight. And Handel's Ariosto-based opera, with all its absurdities of plot, comes deliciously alive in the wise, stylish hands of William Christie and his Arts Florissants. This recording was made from live performances at the Paris Opera in June 1999.

"Victoria: Officium Defunctorum"
Magnificat; Philip Cave, conductor
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Spanish Renaissance composer Tomas Luis de Victoria brought a spiritual fervor to his sacred choral works that continues to move audiences today--and in a way highly distinct from that of his great contemporary Palestrina. Nowhere is this more apparent than in his masterpiece, the "Officium Defunctorum" (Requiem) that he wrote for the Spanish dowager empress in 1603. It may be one of early music's most- recorded warhorses, but the Requiem gets an astonishingly fresh and dulcet performance in this new release from Philip Cave and his Magnificat choir.

"Puccini: Manon Lescaut"
Maria Guleghina, Jose Cura, et al.; Orchestra of La Scala; Riccardo Muti, conductor
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It's odd how often Puccini lovers have been known to pass over "Manon Lescaut," the composer's first real masterpiece--and a work of stunning musico-dramatic invention. However well-known individual arias from the opera might be, "Manon" needs to be heard in its full theatrical context, and it's the perfect vehicle for Jose Cura's dark, yearning tenor. This new recording comes from an exciting live performance given in June 1998 at La Scala under Riccardo Muti.

"Poulenc: Dialogues des Carmelites"
Felicity Lott, Regine Crespin, et al.; ORTF National Chorus, ORTF National Orchestra; Jean-Pierre Marty, conductor
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Why is this superb creation of the lyric stage so underrepresented in the catalog? Fortunately, this release of a 1980 French radio concert broadcast--part of the excellent Memoire Vive series--offers another, well-rounded perspective on Poulenc's tale of the Reign of Terror during the French Revolution to place beside Kent Nagano's more recent, outstanding account. Felicity Lott in particular brings out Blanche's vulnerability and strength of character.

"Wesendonck Lieder; Seven Early Songs; Four Last Songs"
Jane Eaglen; London Symphony Orchestra; Donald Runnicles, conductor
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This isn't the recording to get if you're simply looking for a "Four Last Songs"--there are too many competing, clearly superior accounts of the Strauss. It *is*, however, an important document in the career of one of today's leading Wagnerian sopranos. Jane Eaglen's accounts of the Wagner and Berg are themselves worth the price of admission. As we wait for Eaglen to record her Isolde--which has already proved so moving in live performance--these will certainly whet the appetite.

"Stravinsky: Symphony of Psalms; Symphony in Three Movements; Symphonies of Wind Instruments"
Berlin Philharmonic; Pierre Boulez, conductor
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Everywhere you turn in the world of music, it seems you bump into Pierre Boulez, as celebrations of the French maestro's career continue on the occasion of his 75th birthday. In more partisan times, Stravinsky was a frequent target of Boulez's scorn and biting slogans, but with the ripe wisdom of age comes a new look. Stravinsky's neoclassical and religiously based works are an odd match for Boulez. Indeed, he is by no means at his most inspired here, but what does result is an intriguing meeting of minds.

MUSIC FOR EASTER SEASON
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The significance of Eastertide has long been a central theme in Western and Orthodox music, from liturgical chants to the intensely imagined passion-dramas of Bach and Handel's ultrafamiliar "Messiah," as well as compositions of our own time. Its influence can even be found in some secular masterpieces. See our list of music associated with the Easter season.
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Top Opera/Vocal/Choral CDs 1999

WORD FOR WORD: ANONYMOUS 4

"We were allergic to anything even possibly gimmicky.... It was a new style of concert--no intermission, no applause between pieces. It was a real innovation, using the spoken word and a narrative thread to draw people in and create some sort of context for the 21 two-minute pieces that make up a program of medieval music." --Anonymous 4 Musical Director Susan Hellauer

Read Amazon.com's article about the astonishing success of Anonymous 4:
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NEW AND NOTABLE

Brahms: "A German Requiem"
Janice Chandler, Nathan Gunn; Mormon Tabernacle Choir and Utah Symphony Orchestra; Craig Jessop, conductor
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One of the last projects legendary conductor Robert Shaw had been working on at the time of his death in 1999 was an adaptation of Brahms's early masterpiece "Ein Deutsches Requiem" into English. In realizing that vision and committing it to disc, Craig Jessop does his former mentor proud, while the sublime Requiem itself gains yet another layer of meaning.

"Sento Amor"
David Daniels; Orchestra of the Age of Enlightenment; Harry Bicket, conductor
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We seem to live in the Age of the Countertenors, as the once nearly extinct vocal species has been making a spectacular comeback in the past several years. Amid the profusion of recently lionized talents, David Daniels's theme collection about arias covering love in all its colors--including jealousy and sorrow--stands out. This is a countertenor who's not afraid to lean on his voice.

Tallis: "Complete Works, Vol. 4"
Chapelle du Roi; Alistair Dixon, conductor
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The young English choir Chapelle du Roi, under the sensitive guidance of director Alistair Dixon, has been making a highly praised traversal through the complete works of Thomas Tallis. Their latest volume centers around music for the Divine Office, featuring singing both sweet-toned and full-throated, at times sounding almost lusty.

Stravinsky: "Le Rossignol, Renard"
Natalie Dessay, Vsevolod Grivnov, et al.; Paris Opera Chorus and Orchestra; James Conlon, conductor
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Even after the last century, Stravinsky's creative fecundity continues to boggle the imagination. There are still quite a number of gems from this composer that have never received their full due, such as his brief early opera, "Le Rossignol," based on a Hans Christian Andersen fairy tale, and the funny, sly "Renard." Hear them both in the lively new recording by James Conlon featuring soprano Natalie Dessay.

"My Secret Heart"
Ben Heppner; London Philharmonic Orchestra; Jonathan Tunick, conductor
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Had your fill of obnoxious crossover albums? Well, you don't have to worry about another garish assault on taste with "My Secret Heart." In fact, Ben Heppner's collection of parlor songs and nostalgic oldies from between the wars offers a number of marvelous (re)discoveries. It may seem curious repertory for one of today's leading Wagnerian heldentenors, but Heppner breathes new life into long-forgotten gems, and the result is refreshing and delightful.

Kancheli: "Lament"
Gidon Kremer with Tbilisi Symphony Orchestra; Djansug Kakhidze, conductor
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There can be little doubt that some of the most compelling music of recent years is the work of composers originating from Eastern Europe and the region of the former Soviet Union. Take Giya Kancheli, for example. The Georgian composer has written several darkly poignant, elegiac works, including "Lament," his tribute to composer Luigi Nono. Its fragile beauty finds a perfect match in Gidon Kremer's sensitive performance.

WORTHY "WERTHERS"

Massenet's late-19th-century operatic rendition of Goethe's youthful bestseller has become a telling vehicle for tenor voices today. Its title role was in fact chosen by Andrea Bocelli for his controversial 1999 American opera debut in Detroit. Two recent recordings of the opera display just how subtle are the demands Massenet makes in this work. Amazon.com contributor David Patrick Stearns takes a look at their competing claims.
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NEW: GUIDE TO THE TEXACO-METROPOLITAN OPERA BROADCASTS

Now in their 60th season, the Texaco-Metropolitan Opera radio broadcasts have become a cherished institution, attracting beginners and seasoned music lovers alike. Many a curious listener has been bitten by the opera bug thanks to these Saturday invitations that offer a prime seat right inside the Met, along with lively intermission features. Plan to give yourself more time for music in the new century and check out our list of broadcasts and recommended recordings.
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THE NPR GUIDE TO BUILDING A CLASSICAL CD COLLECTION

It's back: Ted Libbey's highly regarded guide has been updated and is now even more chock full of information than when it was originally published in 1994. As on his weekly NPR(R) "Performance Today" segment, Libbey offers sage and witty advice on 300 core classical works that are essential to a music lover's collection. The discography has been updated to reflect important new interpretations and reissues of classic performances.
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1999 TOP Opera and Vocal Editor, Thomas May
It's been a particularly fertile year for early-music enthusiasts, from Paul McCreesh's thrilling account of Handel to Philippe Herreweghe's return to Bach's "St. Matthew Passion," and Rene Jacobs's period-instrument version of "Cosi fan tutte" offered one of the freshest takes on a Mozart opera to come along in a while. You may also detect--though it's honestly no fin de siecle fantasy, just coincidence--an apocalyptic theme with the Wagner and Ligeti, but don't overlook the wickedly sly humor of Offenbach or the visionary intensity of Messiaen. The one criterion is--as always--compelling music; it is hoped that you will find the same, whatever your taste. Happy listening!

1. Handel: "Solomon"
Paul Agnew, Susan Bickley, et al.; Gabrieli Consort, Gabrieli Players; Paul McCreesh, conductor
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This complete, uncut account of one of Handel's greatest biblical oratorios is, quite frankly, a must-have for fans of the baroque--indeed, of magnificent and thrilling music, period. Under Paul McCreesh's direction, and with star countertenor Andreas Scholl in the title role headlining a splendid group of soloists, "Solomon" comes to brilliant life in an acoustic setting that particularly enhances the experience.

2. Mozart: "Cosi fan tutte"
Veronique Gens, Werner Gura, et al.; Concerto Koln; Rene Jacobs, conductor
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Too long considered an erotic trifle, this was the last of Mozart's three da Ponte operas to be recognized as a masterpiece of psychological insight, of the same caliber as Shakespeare's bittersweet comedies. This is a magnificently bracing period-instrument interpretation, but never fussy, under the keen and witty direction of Rene Jacobs. And the bonus CD-ROM allows you to explore the context and character of Mozart's opera in fascinating detail.

3. Ligeti: "Le Grand Macabre"
Charlotte Hellekant, Willard White, et al.; Philharmonia Orchestra; Esa-Pekka Salonen, conductor
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It's apocalypse now in Hungarian composer Gyorgy Ligeti's brilliantly imaginative opera about a comic-book Armageddon. For the revival from which this recording was drawn, Ligeti revised and tightened the original version of the score he had composed in the 1970s. Conductor Esa-Pekka Salonen once again shows he feels the pulse of contemporary music in this wacky, threatening, sardonic, and exhilarating account of Ligeti's vision, which supersedes the only other version currently available on CD.

4. Wagner: "Gotterdammerung"
Astrid Varnay, Bernd Aldenhoff, Martha Modl, Ludwig Weber, et al.; Bayreuth Festival Orchestra and Chorus; Hans Knappertsbusch, conductor
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In the epoch-making summer of 1951, the Bayreuth Festival reopened for the first time since the war. Featuring an unforgettable, youthful ensemble of some of the festival's finest postwar artists, this legendary performance of "Gotterdammerung" sat in the vaults for decades until its recent release. And it was worth the wait, for this is one of the most shattering conclusions to Wagner's "Ring" cycle to be heard on disc.

5. Messiaen: "Saint Francois d'Assise"
Jose Van Dam, Dawn Upshaw, et al.; Halle Orchestra and Arnold Schoenberg Choir; Kent Nagano, conductor
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Visionary French composer Olivier Messiaen spent nearly a decade writing "Saint Francis of Assisi," his four-hour opera inspired by the saint's life--including the famous legend of preaching to the birds, in which the composer's own long-term fascination with the dazzling variety of bird music takes center stage. This spectacular live recording from Salzburg reveals the work as a profoundly moving summation of a lifetime of discovery.

6. "Verismo"
Jose Cura; Philharmonia Orchestra; Jose Cura, conductor
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The controversial tenor from Argentina has come out with an exceptionally impressive solo album of selections by Leoncavallo, Mascagni, Puccini, and other great "verismo" composers, just in time for his much-anticipated Metropolitan Opera debut in "Cavalleria Rusticana." Cura also appears in a dual role as conductor, and this off-the-beaten-track program is replete with enjoyable singing.

7. Schnittke: "Psalms of Repentance"
Leif Aruhn-Solen, Per Bjorsund; Swedish Radio Chorus; Tonu Kaljuste, conductor
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Of German-Jewish heritage, Alfred Schnittke converted to Catholicism yet drew upon Russian Orthodox musical traditions among many others for his collage-like "polystylism." This characteristic permeates Schnittke's religious works--such as the great "Choir Concerto"--but reaches a new level of severe, awe-inspiring beauty in the a cappella "Psalms of Repentance," given here in a superb recording by the Swedish Radio Choir.

8. Bach: "St. Matthew Passion"
Ian Bostridge, Andreas Scholl, Sibylla Rubens, Dietrich Henschel, et al.; Ghent Collegium Vocale and Orchestra; Philippe Herreweghe, conductor
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J.S. Bach created many imperishable musical monuments, but his setting of the "St. Matthew Passion" stands out even in the lifework of this genius for its shattering power and narrative grip. Bach communicates the story of Jesus' death through a rich variety of musical styles, building the work up into a cosmic drama.

9. Offenbach: "Orphee aux Enfers"
Natalie Dessay, Ewa Podles, Veronique Gens, et al.; Lyon Opera Orchestra; Marc Minkowski, conductor
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This new account of Offenbach's punchy lampoon of the revered myth of Orpheus and Eurydice is a delight from start to finish. Marc Minkowski presides over a fizzy, exuberantly witty performance, while his excellent cast has obvious fun playing up the extremes of their roles--such as the scene in which Jupiter transforms himself into a fly. The recording is based on a hybrid of the score's original and revised versions.

10. Haydn: "Lord Nelson Mass"
Collegium Musicum; Richard Hickox, conductor
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Haydn's Masses represent a significant and musically potent aspect of his legacy. In Richard Hickox's ongoing series of recordings for Chandos, these works can be heard with both period-instrument precision and dramatic verve. The "Lord Nelson Mass" in particular comes through as the supremely beautiful statement that it is, filled with tension, richly contrapuntal webbings, and ultimate affirmation.