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.
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...
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...
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...
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...
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 Caslavsky (Un vecchio zingaro)
Ewanld Aichberger (Un messo)
Vienna state opera chorus and orchestra
Herbert von Karajan, conductor
Enrico Caruso famously stipulated that all a satisfactory Trovatore needs is the world's four greatest singers. Of course, given the hot passions that run through opera fandom, at any given time determining just who those four greatest singers might be would probably never be an easy affair. Nevertheless, TDK's recent release on DVD of a 1978 Vienna production offers wonderful testimony to support Caruso's conjecture, which the additional provisos that one shouldn't slight the leadership of a great conductor who loves the work, and the smaller roles benefit from careful casting as well.
The booklet for this DVD set relates the history of the production, one not only conducted by Karajan but also designed and directed by him. A rather dark picture denies the viewer much chance to fully evaluate the physical production — painted backdrops of a type Verdi would have known well seem to dominate. Perhaps it is better this way. Trovatore's convoluted plot arguably works better in a setting that promotes atmosphere over specifics, and the dim, oppressive aura emanating from Karajan's very traditional production never interferes with the singers. Their rich and traditional costumes give the viewer much to admire, however.
And oh, those singers. Placido Domingo, according to the booklet, stepped in at the last minute to replace a troubled Franco Bonisolli. Looking fit and suitably dark and handsome, Domingo's darker sound fits most of Manrico well — the Di quella pira being one unfortunate exception. Only here do conductor and singer momentarily choose different tempos, and Domingo omits all the traditional Manrico interjections during the chorus, turning around at the last moment to project a not especially thrilling high note on a single "all' armi." As this follows the longest ovation of the evening, for a wonderfully smooth and masculine Ah si, ben mio, Domingo has nothing to be ashamed of.
Raina Kabaivanska's Leonora has enough feminine grace and beauty to make both Manrico's and the Count's passion fully understandable. Her exquisitely floated high notes do much to excuse an occasional clouded tone at the end of long lines. The act one Tacea la notte goes beautifully; by act four, understandably, D'amor sull'ali rosee has to be more carefully approached. A superbly acted final scene caps this fine performance.
Piero Cappuccilli manages the difficult feat of showing both the cruel, even sadistic side of the Count di Luna while earning our sympathy for a man desperate for the beauty of a love in a life marked by war and tragedy. His performance grows through the evening, and von Karajan knows that here he has a singer who does not need to "act" — his handsomely sculpted profile and hooded eyes tell all we need to know, while the voice throbs with masculine passion.
As Azucena, Fiorenza Cossotto may alarm some viewers with her acting, which is, to put it mildly, unrestrained, but no one could quibble over the superb control of her gorgeous voice. She makes every moment of Azucena's music into an argument in support of Verdi's original intention to name the opera after this character. And to see the singer at the final curtain, still unrestrained in her passionate acceptance of the crowd's wild enthusiasm, may be to realize that her acting was, for her, quite natural.
Before any of these great singers reach the stage, Verdi has the opening scene of exposition, which can throw a Trovatore off the tracks right at the start if not well delivered. Here von Karajan has a younger Jose van Dam, and the evening gets going with appropriately ominous, exciting singing. Even the Ruiz here is a name not to be dismissed — Heinz Zednik, the fantastic character tenor of the Boulez Bayreuth Ring.
The camerawork provides movement for the viewer where Karajan's direction does not; however, one might wish that the Count was visible at the climax, as the camera focuses only on Azucena. A strange filter over the screen in the garden scene apparently could not be removed — a minor distraction, but annoying. The titles, as so often seem to be the case, could have used another round of editing.
Although the DVD set comes on two discs, surely to accommodate the many curtain calls, it has no extra features. This is disappointing, as the booklet mentions an intermission interview with the conductor at the time of original broadcast. However, no lover of this magnificent score should deny him/herself the pleasures of this release. Perhaps not the least of those pleasures is the sight of conductor Karajan being hit on the head by an errant bouquet at final curtain, which is capped by the conductor bending down to accept from the orchestra pit a bundle of flowers almost as large as himself. Consider that the true bonus to this treasurable document of inspired, passionate Verdi performance, circa 1978.
Chris Mullins