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...
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...
Britten biographer Humphrey Carpenter quotes a friend of the composer’s as calling Miles “a male Lolita.” For all the blather, if not bother, about innocence in The Turn of the Screw, I’ve never felt there was much of it present among the inhabitants of Bly. There’s sure a nasty case of naiveté going around among the grown-ups though.
Benjamin Britten: The Turn of the Screw
Mark Padmore, Lisa Milne, Catrin Wyn-Davies, Diana Montague, Nicholas Kirby Johnson, Caroline Wise, City of London Sinfonia, Richard Hickox
Opus Arte OA 0907 D [DVD]
Britten biographer Humphrey Carpenter quotes a friend of the composer's as calling Miles "a male Lolita." For all the blather, if not bother, about innocence in The Turn of the Screw, I've never felt there was much of it present among the inhabitants of Bly. There's sure a nasty case of naiveté going around among the grown-ups though.
This new, beautifully filmed version of Britten's opera captures the sexual battle of wills for possession of the children between the hysterical (in Freud's use of that over-used--by his fellowmen--term) Governess, portrayed by Lisa Milne, and the ghosts--very real ghosts in Britten's view, not spooks conjured up from the depths of the subconscious of a girl with a crush on a dashing distant uncle. In contrast to the wonderfully spooky black-and-white version of the story with Deborah Kerr (The Innocents), here golden tones cast halos around the children, and desaturated blues point up Quint's and Miss Jessel's incorporeity, lost souls cursed with all-too-human longings.
Director Katie Mitchell filmed the opera at an English country estate, and to her and the producers' credit, the location they chose doesn't look like it's open to the American hordes every summer. Their Bly has seen better days, with a schoolroom in dire need of painting and other repairs that wouldn't be out of place in some inner-city school, and basement rooms that I wouldn't want to wander around in after dark with just an oil lamp to flesh out shapes flickering in the shadows.
Both as a dramatic and as a musical piece, this film succeeds brilliantly. Child actors can usually act or sing but not both, but Nicholas Kirby Johnson as Miles (slightly superior as an actor; some of his piping tones sounded under pitch) and Caroline Wise as Flora live their characters with wisdom, if not knowingness, older than their years. Both of the ghosts cast a spell on the listener: Catrin Wyn-Davies lends a tragic despondency to Miss Jessel, and Mark Padmore (they must coach every tenor to sound like Peter Pears in this role) spins the gossamer allure of Quint's deviltry--or is it just Quint's desperate longing for companionship?
My major quarrel with the film is that the director has promoted Miss Jessel to chief ghost. She makes an appearance in just about every scene, even if just in flashback to earlier shots we've had of her wandering around the lake (the female symbol in the story) or beckoning yearningly to Flora. Wyn-Davies plays the role, like Miss Jessel is described in the libretto, as a figure of higher status in real life than the valet, with a chin-held-high self-assurance that crumbles pathetically in her Miltonian confrontation with Quint at the beginning of act 2.
Quint, on the other hand, is downgraded to secondo spooko. We see him mostly peeking in at the windows like the neighborhood voyeur, and when we aren't following Miss Jessel as she mopes around the lake, Quint is shown from the shoulders down (all he needs is a jack o'lantern for a head) striding, striding, striding through the autumn leaves. In our first full-face, close-up shot when he sings his famous "The ceremony of innocence is drowned," my first thought was that the ghosts aren't getting iodized salt down in the abyss. Why would any respectable ghost go bug-eyed, especially to another ghost? Unless Hell is where bad actors go. And both Quint and Miss Jessel apparently are condemned to the circle of hell where the damned are denied hair brushes.
The tower--the male symbol in the story--is also downplayed. (Early on, Britten considered calling the opera "The Tower and the Lake"). When the Governess (well sung and acted by Milne, though I found her a little too mature for this eager-to-please young girl) tells Mrs. Gross (exquisitely portrayed by Diana Montague, projecting the character's indecision about who's really the cause of all the turmoil) that she has seen a man on the tower, here she has apparently seen someone on the roof, or perhaps in the attic. Quint doesn't call down to Miles from the tower at the end of act 1; instead, the Governess snatches the sleepwalking (?) Miles just before he steps off the roof. Maybe the producers couldn't find a decaying country house with a decent tower. In short, this version has been rethought as a confrontation between the Governess and Miss Jessel. It may work as the filmmakers' take on the story, but it certainly isn't Britten's or, God knows, Henry James's.
Another annoyance--to me, a viewer who doesn't have ADD and doesn't require constant visual stimulation--is the over-editing that's gone on. Scenes constantly cut back and forth à la Baz Luhrmann to the ghosts in their haunts, Miles playing his drum in a tree, Flora putting flowers on her mother's grave (and we get the mother in flashbacks, but not the father). Granted, the dramatically important instrumental interludes must be tricky to fill with visuals, especially in a film, when the viewer might grab the chance to run to the WC, but when a character is singing, most of us aren't in need of visual leitmotifs for a running commentary on the text, or the subtexts. This quibble aside, the director displays an expert sense of theater with small but striking bits of business: one with a bird's egg, Flora and Miles getting into mischief as Miles plays the piano, Miles when he steals the Governess's letter to his uncle.
Turn of the Screw is one of my favorite operas (I do! I do! I do! I do believe in spooks!), and despite the Women's Studies approach taken by the filmmakers, this DVD is well worth the consideration of opera lovers. Seeing the piece again got me pondering about its being one of the few musical-dramatic works to show that children can be creepy. I'd better make that Other People's children; old age and assisted care arrive all too soon. If we accept Stephen Sondheim's admonition that children may listen and learn, then we're probably seeing only something of ourselves in their creepiness. And our own ghosts.
David Anderson