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On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement,
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On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
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Honours yet again to Oehms Classics who understand the importance of excellence. A composer as good, and as individual, as Walter Braunfels deserves nothing less.
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On Saturday evening November 12, 2016, Pacific Opera Project presented Gioachino Rossini’s comic opera The Barber of Seville in an updated version that placed the action in Hollywood. It was sung in the original Italian but the translation seen as supertitles was specially written to match the characters’ Hollywood identities.
A Butterfly for the ages in a Butterfly marred by casting ineptness and lugubrious conducting.
In 1964, 400 years after the birth of the Bard, the writer Anthony Burgess saw Cole Porter’s musical comedy Kiss Me, Kate, a romping variation on The Taming of the Shrew. Shakespeare’s comedy, Burgess said, had a ‘good playhouse reek about it’, adding ‘the Bard might be regarded as closer to Cole Porter and Broadway razzmatazz’ than to the scholars who were ‘picking him raw’.
Beat Furrer's FAMA came to London at last, with the London Sinfonietta. The piece was hailed as "a miracle" at its premiere at Donaueschingen in 2005 by Die Zeit: State of the Art New Music, recognized by mainstream media, which proves that there is a market for contemporary music lies with lively audiences
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24 Oct 2005
The Karajan Collection—Wagner Orchestral Music
“Das Wunder Karajan” – “the miracle of Karajan” – is a phrase associated with the conductor since he was thirty years old, and that phrase holds true in his recorded legacy. In addition to recent DVD releases, EMI has issued a series of CDs in its “The Karajan Collection,” which preserves many fine studio recordings.
Among the volumes in the set is a collection of orchestral music from Wagner’s operas, which stems several concerts with the Berlin Philharmonic between the end of September and early October in 1974. (Originally released in 1975, the selections were remastered in 2001.) Since Karajan was noted as an interpreter of Wagner’s music, and his work with the Berlin Philharmonic is well known, this recording preserves several fine pieces that are rarely played with such consistent intensity, and one can imagine the immediate impact on the audience.
The Overture to Tannhaüser, the longest selection on this CD, makes use of the Paris version of the score, and it includes the chorus of the Deutsche Oper, Berlin, rather than the exclusively orchestra rendering something found on recordings of excerpts from Wagner’s operas. The balance between chorus and orchestra is effective, just as the shifts in orchestral color that are part of the Overture are achieved with smoothly. The solid string textures form a rich foundation for the sometimes exposed woodwind and brass playing in this piece, and the result is as vibrant as it was thirty years ago, when Karajan recorded it.
Likewise, the full string sounds with which the Prelude to Lohengrin opens are difficult to match. While some may quibble with Karajan’s tempos, which can be a little quicker than some would like, this performance is hardly willful: Karajan shows a clear direction as the piece grows in intensity and orchestral color before it subsides in the rich string sounds found in the opening measures. Such masterful direction is borne out in the Prelude to the third act of the same opera, where the prominent brass sonorities offer the kind of polished sound usually associated with the Chicago Symphony Orchestra under Georg Solti.
At the center of this recording is the Prelude to Tristan und Isolde, a work for which Karajan was respected in the opera house. Karajan’s performance of the Prelude is among his finest, as he renders the details of the score precisely and elicits the emotional pitch that this piece must have. The only caveat about this performance is the attaca that connects the orchestral version of Isolde’s “Liebestod” to the end of the Prelude to the first act. While this may work in concert, the banding on a CD should reflect the discrete pieces. With the two pieces connected in this way, the pathos that is essential to the Prelude maps directly onto the “Liebestod” from the end of the third act. Even without including the voice in this performance, Karajan draws the appropriate emotion from the instruments in his cantabile approach to this piece.
It is difficult to follow the music from Tristan und Isolde in this collection, except with something different, and the Overture to Der fliegende Holländer offers sufficient contrast. This selection is, again, a solid performance that evokes the mood of the opera itself. As with the other pieces on this CD the sound vividly captures the fine playing. Karjan’s tempos are compelling, and fit not only the score as Wagner left it, but also the level of playing of the Berlin Philharmonic. Nothing is out of place in this performance, with every detail sounding in place, as though the Orchestra were a single instrument – an achievement of “das Wunder Karajan.” Yet in the final piece on this recording, Karajan builds somewhat on tradition to offer a more paced and majestic reading of the Overture to Der Meistersinger von Nürnberg. In this in this performance, the work even slows a bit near the ending to bring out the fanfares and string accompaniments that are often blurred on other recordings. As the tempos slow toward the final passages, the intensity of the playing increases, with dynamic, resonant sounds that culminate in the well-spaced chords at the conclusion of the Overture.
This recording is a fine collection on its own merits, but it even more impressive as part of EMI’s “Karajan Collection.” The liner notes by Richard Osborne give a synopsis of Karajan’s work with Wagner’s music, but could be enhanced with a discography of the conductor’s recordings. The distinctive look of the CD packaging identifies the volumes in this series, with a black-and-white photo presumably from the time of the recording against a brown-tan background. While a list of the CDs in the set is not part of this recording, those interested might consult the website www.emiclassics.com. It is a fine release on its own merits, and all the more impressive as part of the set being issue by EMI.
James L. Zychowicz