Latvian soprano Inga Kalna, over many decades, has earned worldwide renown for her opera roles. In London she was La Contessa in Mozart’s Le Nozze di Figaro, in Hamburg she performed Stella in Offenbach’s Les Contes d’Hoffmann, and she had many notable roles in Latvia, including Mimi in Puccini’s La Bohème and Gilda in Verdi’s Rigoletto.

Though most of her singing career was in operatic roles, Kalna also excels in solo performances. One of the most notable recent solo concerts she gave was in 2016, at the Dzintari Concert Hall, where, accompanied by pianist and former classmate Diāna Ketlere, she gave a recital of solo songs by German composer Richard Strauss, as well as Latvian composers Jānis Mediņš and Alfrēds Kalniņš. This performance won a Latvian Great Music Award in 2016, and the singer and pianist recorded and released an album with the works entitled Das Rosenband in 2020.

All three composers could be considered Late Romantics (late 19^th century / first half of the 20^th century), and there are similarities and trends that can be observed in their works. Kalna weaves together these songs into an almost seamless whole, confirming the works of the Latvian composers can readily stand alongside the work of Strauss.

Ketlere’s delicate, sensitive piano performance provides a lovely foundation for Kalna’s rich and nuanced vocals, including her earnest rendition of Strauss’ ‘Allerseelen’ (poetry by Hermann von Gilm), a somber song that celebrates the flowers placed on graves on All Souls’ Day in November, while reminiscing about a love in May.

Kalna’s resonant voice also shines in a stirring rendition of Jānis Mediņš’ ‘Glāsts’ (poetry by Atis Ķeniņš), imbuing the performance with longing, up until the final line ‘tevi meklēs gars vēl mans’ (My soul will search for you).

The theme of the approaching night is referenced in the text of both Strauss’ ‘Die Nacht’ (poetry by Hermann von Glim) and Mediņš’ Nocturno (poetry by Andrass or Alfrēds Andersons). Both works are steeped in dramatic resignation, and Kalna’s delivery of lines like ‘Alles nimmt sie, was nur hold’ ([The night] takes all that is fair) and ‘Viss nogrimst dusā’ (Everything sinks in slumber) adds a poignancy to these songs.

Themes of darkness also appear in Kalniņš’ ‘Jau aiz kalniem, jau aiz birzēm’, with poetry by Andrievs Niedra, a tale of listening to a wanderer’s song. Ketlere’s piano gives the song a dreamy atmosphere, while Kalna’s expressive and vivid vocals relate the narrator’s thoughts on what the wanderer might be singing about, even though it results in the narrator’s sadness – ‘bet manā sirdī mostas gaužas žēlabas’ (but bitter grief awakes in my heart).

The CD booklet includes a few brief notes on the concert program, and brief biographies of the three composers, but, curiously, does not include much information about Kalna or Ketlere. All the song texts are provided, all with English translation.

Inga Kalna calls upon her decades of experience on the stage to make for a truly engaging and absorbing performance on Das Rosenband. Confidently confirming that the solo songs of composers Alfrēds Kalniņš and Jānis Mediņš can stand on equal footing with the works of Richard Strauss, Kalna, along with accompanist Diāna Ketlere, whose piano playing is integral to the success of these performances, bring together these many treasures of late Romanticism and reveal their lyrical and musical beauty.

For further information, please visit Inga Kalna’s website and the Skani website.

Das Rosenband

Inga Kalna, soprano

LMIC/SKANI 083, 2020

Track listing:

1. Richard Strauss Allerseelen, Op. 10 No. 8

2. Jānis Mediņš Uz brītiņu (For a moment)

3. Richard Strauss Morgen!

4. Alfrēds Kalniņš Efeja vija (The ivy)

5. Richard Strauss Breit’ über mein Haupt, Op. 19 No. 2

6. Jānis Mediņš Aicinājums (Invitation)

7. Richard Strauss Zueignung, Op. 10 No. 1

8. Alfrēds Kalniņš Jūras vaidi (The moaning of the sea)

9. Richard Strauss Ruhe, meine Seele!, Op. 27 No. 1

10. Alfrēds Kalniņš Ūdens lilija (The water lily)

11. Richard Strauss Das Rosenband, Op. 36 No. 1

12. Jānis Mediņš Jaunā mīla (New love)

13. Jānis Mediņš Glāsts (The caress)

14. Alfrēds Kalniņš Minjona (Mignon’s song)

15. Richard Strauss Die Nacht, Op. 10 No. 3

16. Jānis Mediņš Nocturno

17. Richard Strauss Heimliche Aufforderung, Op. 27 No. 3

18. Alfrēds Kalniņš Jau aiz kalniem, jau aiz birzēm (Beyond the hills, beyond the groves)

19. Richard Strauss Cäcilie, Op. 27 No. 2

The Latvian Gregorian and Medieval music ensemble Schola Cantorum Riga, directed by Guntars Prānis, have, throughout their more than two decades of performing, established themselves as exceptional interpreters of early music. On their most recent album – 2020’s Vox Clara, the group presented recordings of chants from multiple European cities – not just Riga, but from Hamburg, Lund, Limoges, among others, and many of the texts have Christmas themes.

Many of the songs are performed with musical accompaniment, such as ‘Res est admirabilis’ from Limoges, which is introduced by a steady drumbeat provided by percussionist Ansis Klucis, as well as Ieva Nīmane playing the recorder, and Prānis performing the hurdy gurdy (an ancient, hand cranked string instrument). The accompaniment gives the performance a dance-like atmosphere and is a celebratory beginning to the album.

Nīmane also provides a kokle accompaniment for the performance of ‘Miserere mei’, based on text from Psalm 51. This prayer for mercy, combined with the ethereal sound of the kokle, creates a deeply spiritual atmosphere, as the vocals alternate between the unison Gregorian and the Falsobordone harmonies.

Mythological creatures appear in the text of ‘Unicornis captivatur’, from the Codex Engelberg. The solemn, occasionally even violent, tale of captured unicorns and hydras consuming crocodiles, is punctuated by a steady drum, like a heartbeat, creating a performance rich with mythical and fantastic imagery.

The soaring countertenor of Rūdolfs Bērtiņš imbues ‘Respondemos’, a Sephardic song from Spain, with deep reverence, and provides a gracefully flowing performance, while soloist Jānis Kurševs, in ‘Gaude Maria’, a song of rejoicing, provides quiet, yet powerful vocals.

‘Veni Sancte Spiritus’, an antiphon from Cambrai, France, is presented both in Latin and archaic Latvian. As Prānis notes in his introduction to the CD, in the Late Medieval period, the local language would often appear alongside the original Latin, and one of the goals of this recording is to present what these Medieval chants and songs might have sounded like in Latvia centuries ago.

The CD liner notes also contain all the texts (in Latin, English and Latvian), and some very brief notes about the texts and where they originated. The booklet could have gone into more detail about the works, since some listeners may not be familiar with the sources – for example, what the ‘Missale Rigense’ was, or the ‘Codex Saint Martial de Limoges’.

Besides being a recording of the highest quality, with Schola Cantorum Riga displaying their singular talents in performing early vocal music, Vox Clara also provides for a fascinating historical journey through the music of Europe, creating an absorbing listening experience. The ensemble and leader Guntars Prānis vividly present songs that are both solemn as well as celebratory, performing both with beauty and vitality.

For more information, please visit the Schola Cantorum Riga website.

Vox Clara

Schola Cantorum Riga

LMIC/SKANI 085, 2020

Track listing:

1. Res est admirabilis
2. Vox clara
3. Benedicamus
4. Ingrediente Domino
5. Kyrie eleison ymas
6. Miserere mei
7. Unicornis captivatur
8. Uterus hodie
9. Veni Sancte Spiritus
10. Plangas cum lacrimis
11. Quasi stella matutina
12. Alleluya alto re di gloria
13. Respondemos
14. Gaude Maria

Among the many folklorists who went on ‘expeditions’ around Latvia to gather and write down local songs and dances (since many were passed down over generations orally), a slightly less familiar name is Voldemārs Stelbergs. Stelbergs travelled throughout the Vidzeme region of Latvia in the early 20th century and wrote down more than 1300 melodies and songs throughout his journeys.

Folklorist and musician Inese Roze, when researching music of her native Vidzeme, encountered the collection of Stelbergs’ notes in the Latvian folklore archive, and decided to bring together a number of musicians to record an album of songs and melodies from the Stelbergs collection. Along with the ensemble Drabešu muižas muzikanti, with support from the “KasTe” society (dedicated to traditional cultural initiatives), they released the album Kad mana sieva piedzērus’ in 2020.

Many of the songs collected by Stelbergs’ are dance songs or drinking songs as well as humorous and good-natured tunes to be enjoyed over a mug or two of beer. The ensemble also recorded the album using traditional instruments, to create an authentic re-creation of an evening in a tavern in Vidzeme in the first half of the 20th century.

There are a number of instrumentals, some with no name beyond ‘Polka Nr. 25’ or ‘Polka Nr. 49’, but the instrumentals are performed enthusiastically and energetically, appropriate for a boisterous evening of dancing, particularly the bouncy dance ‘Rucelis’.

Themes of life and death and suffering are humorously presented in ‘Dažs tēviņš šinī pasaulē’, about how some eat and drink well while others suffer and await death, and a note about how Heaven waits for some while Satan waits for others. Though these are seemingly weighty themes, the ensemble’s performance of the song is upbeat and lively.

The positivity that is woven throughout the album is evident in many of the songs, such as ‘Šai goda dienā’, a song of well-wishing. The singers wish not just happiness and health, but as the song progresses, it becomes more humorous with wishes like peas the size of apples, as well as beautifully curved cucumbers.

Many of the songs have little in the way of lyrics, just repeating a phrase a few times. For example, ‘Dziesma ar dziedāšanu’ (or ‘Kad mana sieva piedzērus’’), where a man sings multiple times about how, when his wife is drunk, he ties her up in a sack. Though certainly meant in a lighthearted and humorous way, a modern perspective on the song likely interprets this as misogynistic. It is also a curious artistic choice to give the album the title ‘When my Wife is Drunk’, an alternative title may have worked better.

The CD booklet has extensive notes on each song, including the lyrics and English translations, and notes on where and when the song was written down. There is also a detailed biography of Voldemārs Stelbergs and notes on his travels by musicologist Lauma Bērza.

On Kad mana sieva piedzērus’, Drabešu muižas muzikanti display the rich results of Voldemārs Stelbergs folklore expeditions, and the vivacious and exuberant performances reveal songs of joy and happiness. These songs may not be familiar to many listeners, but the ensemble, with their authentic and spirited performances, has done a commendable job of restoring these songs to the Latvian folklore repertoire.

For further information, please visit the Lauska Drabešu muižas muzikanti information page

Kad mana sieva piedzērus’

Drabešu muižas muzikanti

Biedrība “Tradicionālās kultūras iniciatīvu centrs “KasTe””, 2020

Track listing

1. Es gāj’ pa puķu puķītēm
2. Palkavnieka valsis
3. Polka Nr. 25
4. Polka Nr. 49
5. Pasvilpo, vālodzīt
6. Deja “Rucelis”
7. Trīcēja, skanēja mežiņa malā
8. Šai goda dienā
9. Polka Nr. 23
10. Grib tai glāzei diben’ redzēt
11. Deja ar dziedāšanu / Kad mana sieva piedzērus’/
12. Lecampolka
13. Rātes stabs
14. Vai dieniņ, kas par brīnumiem
15. Reiz satik’ vienu meitiņu
16. Rikšiem bērīt’ es palaidu