by Ben Hogwood picture courtesy of Colbert Artists Management
Last week we learned the sad news of the death of the great Belgian baritone, José van Dam, at the age of 85. A suitable obituary can be read at the Presto Music website
van Dam’s discography is extremely impressive, and the Tidal playlist below taps in to a number of elements of it, not least his many recordings made with the Berliner Philharmoniker and Herbert von Karajan. Yet there are landmark recordings of French opera and melodies too, which are also included – with music by Massenet, Ibert and Ravel:
Julia Kogan (soprano), Britten Sinfonia / Steven Lloyd-Gonzalez
Barber Knoxville: Summer of 1915 Op. 24 (1947) Britten Les Illuminations Op.18 (1939) – French and English versions
First Hand Records FHR150 [60’04’’] English/French texts and English translation included Producer Andrew Walton Engineer Debs Spanton
Recorded 8-10 October 2023 at Henry Wood Hall, London
Reviewed by Richard Whitehouse
What’s the story?
First Hand Records releases a recording of Britten’s Les Illuminations with a difference – this reading of its original French version being heard alongside one of a new English translation, and with Barber’s Knoxville: Summer of 1915 included as far more than a mere makeweight.
What’s the music like?
Second of Britten’s song-cycles, Les Illuminations sets poems from the eponymous collection by Arthur Rimbaud and was among the earliest works written during his three years in North America. Although most often performed with tenor, this was conceived for soprano and Julia Kogan amply underlines the emotional frisson possible when sung thus. Such is immediately evident from the simmering anticipation of Fanfare, its single-line setting recurring midway as the sensuous Interlude then as impetuous conclusion to the sardonic Parade. Elsewhere, the feverish excitement of Villes, knowing elegance of Antique and rapt longing of Being Beauteous are tangibly rendered – as is the inherent fatalism of Départ which evanesces into sombre repose. If not Britten’s defining vocal work, this is surely among his most engrossing.
All the more surprising, then, it should never have received an English translation – until now. Long established as translator and poet, Timothy Adès has come up with one that is idiomatic and conveys the essence of each setting to often startling degree. That said, these translations read arguably as explications of the poem at hand rather than as linguistic equivalents for the purpose of singing, which is not to deny the conviction that Kogan puts into their realization. Whether or not this establishes itself as a viable alternative is for future exponents to decide.
Cannily interspersed between these performances, Knoxville: Summer of 1915 finds Barber setting extracts from James Agee’s prose-poem as a ‘lyric rhapsody’ that offsets its evoking of idyllic contentment with a bittersweet acknowledgement of what can arise in the light of experience. Interesting to recall Agee was barely a decade older than Rambaud at his death, and that the trajectory of his life moved in something of an opposite direction as regards its unfolding from outward security to inner upheaval. There have been memorable recordings of this work across the decades, and that by Kogan is surely set to join them in terms of the imaginative insight she wrests out of Barber’s setting along with its undoubted vocal allure. Whatever their virtues, few earlier accounts get to the heart of this matter with such acuity.
Does it all work?
Pretty much always and not forgetting the contribution of Britten Sinfonia (whose association with its namesake’s song-cycles goes back to recordings from John-Mark Ainsley some three decades ago) – all directed here with no lack of perception by Steven Lloyd-Gonzalez, whose discography features worthwhile accounts of Shostakovich’s Sixth and Ninth Symphonies for FHR. The balance of voice and orchestra – whether with or without wind instruments – could hardly have been bettered, while Kogan contributes a succinct though revealing booklet note.
Is it recommended?
Indeed. Kogan has previously recorded a collection by Isabelle Aboulker for FHR, and it is to be hoped her association with the label will continue. Certainly there is much in the repertoire of English and French orchestral song to which her distinctive response would be well suited.
Three decades and twelve albums haven’t offered a single Christmas song from Merseyside psych sorcerers, The Coral, until now. As overdue as the reply from Santa to a lost child’s letter and as cursed as Krampus’ footsteps getting closer in the dead of Christmas night, the filmic five-piece release She Died On Christmas Day, their first new music since 2023’s Top Five album, Sea Of Mirrors.
With a limited edition 7” release available to fans and collectors, titled Christmas On Coral Island, the title track is the last to feature the narration of the Ian Murray, also known as The Great Muriarty. Bringing dramatic poise as narrator on both The Coral’s 2022 album, Coral Island and 2023’s ‘spirit broadcast’ of Holy Joe’s Coral Island Medicine Show, Ian and James’s Skelly’s late-grandfather ably sets the scene on the B-side.
by Ben Hogwood photos courtesy of the ABBA Voyage website
An admission: I used to struggle with ABBA.
Although I loved the tunes to the likes of Money, Money, Money and Super Trouper – the first songs I can ever remember, from primary school discos, I started to see them as a bit too cheesy and found they were getting in the way of the house music I was obsessed with on university student nights.
What I have (so far) learned with age is that music tastes can change either subtly or unexpectedly, like a maturing whisky or a flavour that suddenly and unexpectedly hits the spot. And so it has been with ABBA, a feeling exemplified by a visit to the ABBA Voyage show on Saturday 8 November.
I wasn’t quite prepared for the emotional scale of what was about to come. Sure, the atmosphere in the arena beforehand was expectant, everyone with a ready smile and the wish to shake off the horrible parts of the modern world for a couple of hours. In reality, the ABBA show had done that for us in the first minute.
With lighting (from WHITEvoid) and sonics to justify the expensive price tag, this was a show sat squarely between the best cinematic experience you will ever have and the thrill of a live gig. The Hero Band were simply astonishing, not just for their virtuosity but in their clear love of the music, matching the vocals note for note but adding their own personalities at the same time.
But what vocals we had! Initially the idea that they could be connected with the avatars on stage appeared far-fetched, the distant figures surely incapable of such feats. Yet once the figures of Agnetha, Benny, Björn and Anni-frid had appeared on the big screen, it was time to suspend belief and enjoy the run of incredible music stretching before us.
To any radio listener or disco dancer, ABBA are the stuff of life, unwittingly providing us doubters with a soundtrack to our every move. Each song here had years of history on radio, apart from the well-chosen opening pair, The Visitors and Hole In Your Soul, and the ‘newer’ song Don’t Shut Me Down. The Visitors proved beyond doubt that ABBA have formidable strength in depth, that if you look beyond the frontline singles there is still incredible quality beneath. Don’t Shut Me Down gave strong shots of vulnerability, papered over by an exultant chorus.
Emotions ran high as our lives were effectively played out before us. Inevitably, while Super Trouper was missing, Money, Money, Money gave vivid reminders of that disco aged just six. What I wasn’t expecting was the concentrated outpouring of emotion during the likes of Fernando, with a real sense of occasion, or the real life soap opera cliffhanger that is Knowing Me, Knowing You. Casting aside Alan Partridge reminiscences – with a laugh – here was a chance to get to the nub of those lyrics describing a very public break up, remarkable bravery glimpsed throughout the song.
The set evolved with Disney-like surety, with the animations providing unexpected highs. Eagle was especially beautiful, with animations from Shynola backing a heady rush of endorphins as we soared above the earth, but even that was eclipsed by a triumphant Waterloo, shown exactly as performed at the Dome in Brighton, where it became the winning entry of Eurovision 1974. From there we segued into a truly joyous Thank You For The Music, a hymn to my favourite art form, then on our feet to celebrate Dancing Queen, before a majestic account of The Winner Takes It All.
Just occasionally there was a cynical thought of the amount of cash ABBA and their allies must be making from Voyage…but that was quickly overrun by the realisation that the experience is worth every penny, a thousand positive affirmations in a truly heartfelt two hours.
If you haven’t seen it yet, do try and get to East London, where the feelgood vibes are off the scale. As the Voyage website says, it is a concert like no other!
Published post no.2,716 – Wednesday 12 November 2025
A confession: I know very little of the music of Alessandro Scarlatti, but I did not want this significant anniversary to get passed over, for it is 300 years to the day since his death in Napoli.
Alessandro was renowned primarily as a vocal composer, but also made a number of innovations in instrumental music – picked up by his son Domenico, a prolific composer in this area.
Opera and church music were Alessandro’s main forms of musical currency, but we begin with an invaluable guide to his music from Brilliant Classics, presenting a sequence of concertos, sinfonias and sonatas:
Following this is one of Alessandro’s principal compositions for the church, his Dixit Dominus in a fine performance with Trevor Pinnock conducting the English Concert and a starry team of soloists:
Finally, here is a link to what some regard as Alessandro’s best opera – the three-act drama Telemarco:
Published post no.2,695 – Thursday 22 October 2025
Arcana.fm 