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Cela arrive rarement, le souffle coupé dès les premières notes. Une minute entière à retenir sa respiration dans une apnée d’émotion totale pour recevoir la première phrase du Lamento pour contralto, de Johann Christoph Bach, d’après les Lamentations de Jérémie, son ascension douloureuse, ornée de sanglots, puis les deux accords d’une longue plainte instrumentale, avant l’entrée, magique, de la voix de Magdalena Kozena. “Ach, dass ich Wassers g’nug hätte.” “Ah, si ma tête était remplie d’eau, si mes yeux étaient une source de larmes.” L’insouciance a été jusqu’alors votre lot ? Vous, toi, nous tous, pécheurs, allons connaître ce que pèse le lourd fardeau de nos iniquités – et la récompense de cette connaissance : 7 minutes 22 d’une pure splendeur musicale.
Recorded in Tokyo on October 23, 1963, this live recording of Nozze di Figaro boasts fine sound, a top cast, and the leadership of a conductor of great skill and experience. The label, Ponto, has joined the ranks of such other companies as Opera D’oro and Gala in making available broadcast and in-house recordings at affordable prices. Sometimes these releases are not even worth the modest price asked for; this one may well have more to offer than higher-priced studio sets. After a slightly hesitant first few moments, the sound quality settles down and becomes admirably strong and well defined. There is relatively little stage noise, the voices have a natural presence without being too forwardly placed, and Böhm’s orchestral control can be relished. His may be an old-fashioned reading, but it never lags or lacks for humor or beauty. The audience can be heard laughing from time to time at the stage antics; applause only interferes with the musical pleasures at the end of Non piu andrai, when unrestrained clapping covers a bit of Böhm’s ironically happy martial send-off.
Elsewhere on Opera Today readers can find a recent review of a live recording of Mozart’s Le Nozze di Figaro from the Ponto label, a company that has joined the ranks of Opera D’oro and Gala in offering, at budget price, live recordings of various provenance. At their best, as with that Nozze, these recordings offer in acceptable sound (sometimes better) performances of such quality they rival their more expensive competitors. At less than the best, however, even the budget price becomes exorbitant. This Tristan und Isolde, recorded on January 25, 1967, unfortunately belongs to the latter category. Unless one has a strong personal reason for wanting a keepsake of this company or the artists involved, the recording is unlikely to please most listeners. The primary reason is the sound. While not unlistenable, the recording is clearly an “in-house” affair, and probably from an audience member, as some of the coughing is more up-front than the singing. Worse, during the climax, some audience members are whispering as Isolde enters the Leibestod. One would love for a Jon Vickers to have been present to yell out, “Stop your damn whispering!”
William Bolcom is arguably the preeminent American opera composer of today. His third commission for Lyric Opera of Chicago, A Wedding, recently opened to mostly positive reviews. His previous work in the form, A View from the Bridge, had a successful run at the Metropolitan Opera following its premiere in Chicago.
Il Trovatore Giuseppe Verdi, music and Salvatore Cammarano and Leone Emanuele Bardare, libretto TDK DVUS-CLOPIT Raina Kabaivanska (Leonora) Fiorenza Cossotto (Azucena) Plácido Domingo (Manrico) Piero Cappuccilli (Conte di Luna) José van Dam (Ferrando) Maria Venuti (Inez) Heinz Zednik (Ruiz) Karl...
On an accompanying CD and in the liner notes, interviewer Klaus J. Schönmetzler asks conductor Enoch zu Guttenberg, “Why another St. Matthew Passion?” This is a fair question considering the glut of recordings ranging from the overtly romantic to the idealized “authentic” (and mostly fast) Baroque editions. To his credit, Guttenberg responds to this question by acknowledging an aversion to interpreting Bach overly Romantically while desiring a Baroque sensibility. As a theologian, zu Guttenberg understands an undeniable conviction in Bach’s theology, particularly in the chorales, which he acknowledges can lead to a more Romantic interpretation. Zu Guttenberg’s attempt to capture this devotion coupled with the reality of twenty-first century instruments and performers, produces a St. Matthew stuck in a mediocre middle ground between a Baroque “ideal” and a Romantic interpretation.
The imposing figure of Johann Sebastian Bach has loomed large for Magdalena Ko ená throughout her career. It was her first disc of Bach arias on Deutsche Grammophon’s Archiv label that brought the golden-voiced mezzo to the attention of the music world as early as 1997. Word then quickly went round that Magdalena was the perfect choice for Bach recordings. ”This disc that started my international career also was my introduction to the great Baroque conductors, including the wonderful scholar and musician Reinhard Goebel, with whom I’ve worked on my new disc, Lamento.” Although the title may suggest wailing and gnashing of teeth, this is a sublime and eclectic mixture of music by J. S. Bach, his relations and contemporaries. ”There’s a very optimistic feeling to this CD,” says Ko ená. ”Although all these pieces are about how horrible it is on this earth, they are really celebrating how great it will be afterwards. There’s a message of hope throughout.”
Colour, wit and life abound with a star turn from the Rossini tenor of the moment Comte Ory Le Comte Ory is the first great French-language comic opera. A late work (Paris, 1828), sensuous, witty and exquisitely crafted, it has...
Don Giovanni: Leporello's Revenge Mozart's opera presented from the point of view of Don Giovanni's servant, Leporello. 55 minutes Color / Stereo Copyright Date: 2000 ISBN: 1-56029-885-5 Mozart's Don Giovanni is arguably one of his most complex, politically controversial, and...
Deux "Falstaff", à vingt ans d'écart LE MONDE | 27.12.04 | 14h05 Les amateurs d'opéra ont, généralement, un fort penchant pour l'écoute comparée des interprétations. L'éditeur Andante les comblera. Dans un somptueux livre-CD (224 pages avec notice et livret en...
Zelmira Gioachino Rossini, music and Andrea Leone Tortola, libretto ORC 27 Scottish Chamber Orchestra Maurizio Benini, conductor Besides its Opera in English series on Chandos, Peter Moore's Foundation has sponsored the recording of many a fine bel canto rarity on...
French soprano Natalie Dessay sings three roles, all quite different in character and personality -- from Zerbinetta in "Ariadne" to Zdenka in "Arabella" and Sophie in "Rosenkavalier." It is a delicious way to sample the pleasures of this great singer....
The House of the Sun Einojuhani Rautavaara, music and libretto Ondine 1032-2D Oulu Symphony orchestra Mikko Franck, conductor The recording company Ondine, based in Helsinki, has built itself an international reputation, at least arguably, by dedicating itself to the works...
A Masked Ball Giuseppe Verdi, music and Antonio Somma, libretto English translation by Amanda Holden Chandos 3116 (2) London Philharmonic Orchestra David Parry, conductor In an era where major record companies seldom produce complete opera sets (and those they do...
STRAUSS Der Liebe der Danae, op. 83 * Ulrich Windfuhr, cond; Franz Grundheber (Jupiter); Manuela Uhl (Danae); Hans-Jürgen Schöpflin (Mercury); Robert Chafin (Midas); Paul McNamara (Pollux); Cornelia Zach (Xanthe, Europa); Daniel Behle, Martin Fleitmann, Simon Pauly, Hans Georg Ahrens (Vier...
SPONTINI: Agnese di Hohenstaufen Lucille Udovick (Agnese), Dorothy Dow (Irmengarda), Franco Corelli (Enrico il Palatino), Francesco Albanese (Filippo), Enzo Mascherini (Re di Francia), Anselmo Colzani (Enrico il Leone), Gian Giacomo Guelfi (L'Imperatore); Florence Teatro Communale/ Vittorio Gui Myto 42084 [2CD]...
VERDI:Ernani with Giovanna d'Arco excerpts Georgio Merighi (Ernani), Piero Cappuccilli (Don Carlo), Augusto Ferrin (De Silva), Mara Zampieri (Elvira) Trieste Teatro Communale/ MolinariPradelli; Mara Zampieri (Giovanna), Renato Francesconi (Carlo), Ettore Nova (Giacomo) San Remo Symphony/ Buenza-Delil Myto 41288 [2CD] 148...
VERDI: Otello Mario del Monaco (Otello), Renata Tebaldi (Desdemona), Leonard Warren (Iago); La Scala/ Antonio Votto Myto 41083 [2CD] 140 minutes Tebaldi and Del Monaco twice recorded Otello together in the studio, and we've reviewed a number of bootlegs starring...
MERCADANTE: Emma d'Antiochia Nelly Miricioiu (Emma), Maria Costanza Nocentini (Adelia), Bruce Ford (Ruggiero), Roberto Servile (Corrado); Geoffrey Mitchell Choir, London Philharmonic/ David Parry Opera Rara 26 [3CD] 183 minutes I have long been on a campaign to revive the works...
MUSICAL PERFORMANCE AND PERSONAL EXPERIENCE Thomas Quasthoff Sings Sacred Cantatas by Bach by Jürgen Otten It would be easy to describe or appraise the art of bass-baritone Thomas Quasthoff by evoking the title of an exquisite lied by the Romantic...
JANáCEK Jenufa * Charles Mackerras, cond; Janice Watson (Jenufa), Josephine Barstow (The Kostelnicka), Nigel Robson (Laca), Peter Wedd (Steva), Neale Davies (Foreman); Welsh Natl Op O & Ch * CHANDOS 3106 (2 CDs: 121: 11) There is so much to...
JANáCEK Jenufa * Charles Mackerras, cond; Janice Watson (Jenufa), Josephine Barstow (The Kostelnicka), Nigel Robson (Laca), Peter Wedd (Steva), Neale Davies (Foreman); Welsh Natl Op O & Ch * CHANDOS 3106 (2 CDs: 121: 11)
There is so much to say about this recording that one hardly knows where to start. It is a new entry in Chandos's "Opera in English" series. Opera in the language of the audience vs. its original language used to be a hot topic everywhere; e.g., many historical performances of Verdi, Tchaikovsky, or Gounod in German. The public's acceptance of subtitles at the opera put an end to the debate everywhere but in England--Die Macht des Schicksals long since became La forza del destino in Munich. Most of the time, this English libretto works just fine, but there are places where important notes fall on unaccented syllables, a note is extended to cover an extra word, or the natural pulse of a phrase is distorted to fit the rhythm of the music. This is by no means a poor translation. A major part of writing an opera is joining the music and libretto seamlessly, difficult enough when each may be modified as needed, virtually impossible without being able to alter the music. In addition, the correct, upright English used by this all-British-Isles cast sounds too formal, too high-class for the tale's country-farm setting, be it be in Moravia, Yorkshire, or Kansas. There is nothing of the vernacular here; even the nicknames they use among themselves--Jenfka, Stevuihka, Mamiko--are left in Czech. The same may be true of original-language Jenufa recordings, but few non-Czech speakers would be sensitive to that.
My last exposure to this series (in Fanfare 27:4) was Simon Rattle's Vixen, which I found too English in style as well as language. There is no danger of that with Charles Mackerras: American born, educated in Sydney and Prague, but an honorary Moravian if ever there was one, he is the great Janápiek conductor everywhere. His recordings of seven Janápiek operas set standards that have not been surpassed, including a 1982 Jenufa for Decca/London. His soprano then was Elisabeth Söderström, his orchestra the Vienna Philharmonic; both seemed perfect at the time, but Karita Matilla outshone Söderström in a 2001 Erato production of a Covent Garden live performance (26:5), a most memorable portrayal. Although this new Chandos recording is a studio production, it has all the dramatic vitality of a live performance--more so than the live Matilla/Haitink. It was based on a spring 2003 production at the Welsh National Opera, but its Jenfa, the brilliant young Susan Chilcott, was ill with cancer and unable to participate in the July 2003 sessions; she died in September of that year. Conductor Mackerras then chose Janice Watson to replace Chilcott; what a daunting challenge that must have been!
The two leading ladies are very good, but is that enough in these great intertwining roles? Janice Watson sings convincingly, soaring nicely to her few high notes. She doesn't realize much of Jenfa's character in the first act, perhaps because she was not a part of the staged production, but she is also hindered by running into awkward word/music mixes as she shapes a musical phrase. Watson does better with her big solo in the second act and her final aria to Laca, but again her singing is stronger than her characterization. As the Kostelnika, Josephine Barstow is a bit distanced; she pronounces Jenufa with an English J as in Jennie, rather than the Czech "Yenoofa," which everyone else uses. This suggests that she too may not have been with the ensemble before the recording. She sings at least as well as most Kostelnikas, occasionally resorting to speech but seldom to shouting; she underplays the role until rising to a fine dramatic climax with "The icy hand of death" at the close of the second act, as she does again in her plea for forgiveness in the finale. In spite of the considerable achievements of both sopranos, a lack of chemistry between them prevents the finale from jelling. Tenor Nigel Robson is a vocally strong, dramatic Laca in the early going but is weaker after he becomes the good guy. Peter Wedd is a suitably self-absorbed Steva. Welsh baritone Neale Davies is magnificent, stealing the first act with the foreman's aria. Several other roles are played by members or frequent guests of the Welsh National Opera, contributing to a sense of ensemble left over from the stage. The chorus is too large, both because it becomes a bit untidy and because what sounds like 50 recruits in act I is an enormous group for a rural farming village (the text says "only nine"); as a result, their revelry does not come across clearly. The peasant girls in act III are a suitably smaller group, and their song is just right.
It is the orchestra that holds this performance together, propelled by Mackerras at ferocious tempos throughout act I, with an intensity that never lets up. The Vienna Philharmonic in his earlier recording is silkier, as are the forces of the Royal Opera House under Haitink, but neither attains the dramatic force experienced here. Mackerras never lets pure beauty soften the pulse; probably he didn't mean to do so in Vienna either, but that lustrous orchestra just couldn't help itself. The singers here are often pressed and occasionally drowned out by the orchestra, and the rich recording focuses more tightly on the instruments than the voices. When two characters are present, as is so often the case in this opera, each is put exclusively into one stereo channel, so balances can be weird when listening on headphones, which I do not recommend.
The booklet is a model of presentation, with all the expected amenities. The libretto is English only, but notes come in German, French, and Italian as well. Included is a family tree, especially useful in this opera in which everyone is related, but seldom by blood. The opera's title, Její pastorkyna, is usually translated "Her Foster-Daughter." Here it is more sensibly "Her Step-Daughter." One page is devoted to a detailed explanation of Czech pronunciation, including the effects of many accent marks. Why here, where there is no Czech to be heard? Why not a guide to English pronunciation for Slavic listeners who don't want to miss a Mackerras-led Janácek recording? The "Opera in English" series is sponsored by the Peter Moores Foundation, the creation of Sir Peter Moores, CBE, DL, who rates a photo and a nearly full-page biography, where we learn that he was "born in Lancashire and educated at Eton College and Christ Church, Oxford." All of which suggests that the intended audience for these recordings is primarily the English gentry.
Despite everything, those who prefer opera in English now have a powerhouse Jenufa of their own.
James H. North
*This review is reprinted with the kind permission of Fanfare, The Magazine for Serious Record Collectors. For more information regarding Fanfare, please visit its website at http://www.fanfaremag.com/. Subscription information is available at http://www.fanfaremag.com/subscriptions.html.*
