Sharon Kam: Opera! (CD review)

Sharon Kam, clarinet; Ruben Gazarian, Wurttembergisches Kammerorchester Heilbronn. Berlin Classics 0300547BC.

The last time I reviewed a recording from clarinetist Sharon Kam, it was of the Mozart Clarinet Concerto on Berlin Classics, and I loved every minute of it. I loved it so much, in fact, that I listed it among my favorite albums of 2011. This time she is working with the W├╝rttemberg Chamber Orchestra Heilbronn under conductor Ruben Gazarian, and the subject matter is quite different--opera transcriptions for clarinet and orchestra. Nevertheless, I enjoyed it almost as much as the Mozart, and the Berlin Classics sound is as good as ever. It is an engaging disc all the way around.

Ms. Kam’s idea for the program was with the help of arranger Andreas N. Tarkmann to “trawl the rich stocks of Italian vocal music for suitable works and compile them into an interesting, diversified programme and then to write arrangements for clarinet and orchestra.” Ms. Kam explains to us that her husband is an opera conductor who one day told her, “If you love opera so much, why not go operatic yourself!” Which is what she has done on this album of music by Verdi, Puccini, Ponchielli, Wolf-Ferrari, and a strong helping of Rossini.

First up is a good example of the rest of the program, Rossini's "Del periglio al fero aspetto" from Maometti II, in which Ms. Kam's clarinet sings as sweetly as any vocalist could. The interesting thing throughout the album is that Ms. Kam never tries merely to offer up a collection of greatest hits. Indeed, unless you are a devoted opera fan, you may not recognize a lot of these tunes. Instead, Ms. Kam has found operatic music that particularly complements the soaring lyricism of her instrument. The combination is felicitous, to say the least.

Next, we find a collection of things from Giuseppe Verdi, normally piano-accompanied vocals that work exceptionally well for clarinet and orchestra. Incidentally, I should add that the chamber orchestra accompanying Ms. Kam plays smoothly and sympathetically under the sensitive direction of Maestro Gazarian. Anyway, these Verdi pieces are lush and lovely, and, in the case of the last item, bouncy, the playing from everyone, especially Ms. Kam, exquisite.

Following the Verdi is Rossini's little “Bolero,” a song he composed for fortepiano and voice. It is filled with charming melodies, which Ms. Kam exploits nicely, her clarinet floating gently in and out harmoniously in folklike sequences of romance and sentiment.

After that we get three tunes by Giacomo Puccini, operatic-influenced songs he wrote for piano accompaniment. Ms. Kam well captures the flavor of their bel canto nature. Then it's on to Amilcare Ponchielli and the chamber piece Paolo e Virginia, the only work on the program originally written with a clarinet in mind. Andreas N. Tarkmann says in a booklet note it's like “a little instrumental opera scene,” quite dramatic in its robust phrasing.

Ermanno Wolf-Ferrari gets a series of four tracks next, each of them originally intended as purely instrumental music--intermezzos and ballet interludes. This suite comes off as a kind of clarinet concerto, filled with happy, energetic, enthusiastic playing throughout. 

The disc ends with Rossini's "Nacqui all'affano" from La Cenerentola. It's typical Rossini and probably the song on the program most familiar to listeners, music overflowing with good cheer and performed in virtuosic style.

I don't usually like albums that contain bits and pieces of things, but with Ms. Kam's offering I have to make an exception. Her playing is so uniquely affecting and the arrangements so refreshing, the disc may go down as an early favorite of the year.

Producer, engineer, and editor Eberhard Hinz recorded the music for Berlin Classics at Harmonie/Theodor-Heuss-Saal, Heilbronn in 2013. Although the supporting ensemble and the venue are different from Ms. Kam’s previous album, the sound engineer remains the same, so it’s no wonder we get a similarly good recording. The clarinet sounds beautifully integrated into the acoustic field, just ahead of the orchestra but not so close as be unnatural. The midrange appears as clear and lifelike as you could ask for, and the frequency extremes, which are hardly a concern in any case, are more than adequate. There is also a warm, ambient glow to the music that is most attractive, the clarinet offering up fresh, pure, mellifluous tones.

To listen to a brief excerpt from this album, click here:

No comments:

Post a Comment

Meet the Staff

Meet the Staff
John J. Puccio, Editor, Publisher, Reviewer

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer

For more than 20 years I was the editor ofThe $ensible Soundmagazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.

For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Onkyo C-7030 CD player, Legacy Audio StreamLine preamplifier, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my LG G7 ThinQ cell phone, which features surprisingly sophisticated audio circuitry. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst

I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.

Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.

Mission Statement

It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.

When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.

So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio

Contact Information

Readers with polite, courteous, helpful letters may send them to

Readers with impolite, discourteous, bitchy, whining, complaining, nasty, mean-spirited, unhelpful letters may send them to classicalcandor@recycle.bin.

"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa