Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Mahler Songs : Christian Gerhaher, Wigmore Hall

Star singer and star composer, a combination guaranteed to bring in the fans. Christian Gerhaher sang Mahler at the Wigmore Hall with Gerold Huber. Gerhaher shot to fame when he sang Wolfram at the Royal Opera House Tannhäuser in 2010.

Modernity vanquished? Verdi Un ballo in maschera, Royal Opera House, London

Verdi’s Un ballo in maschera at the Royal Opera House — a masked ball in every sense, where nothing is quite what it seems.

La Traviata in Ljubljana Slovenia

Small country, small opera house — big ensemble spirit. Internationally acclaimed soprano Natalia Ushakova steps in for indisposed local Violetta with mixed results.

Otello in Bucharest — Moor’s the pity

Bulgarian director Vera Nemirova’s production of Otello for the Romanian National Opera in Bucharest was certainly full of new ideas — unfortunately all bad.

Il trovatore at Lyric Opera of Chicago

For its current revival of the 2006-2007 production of Giuseppe Verdi’s Il trovatore by Sir David McVicar Lyric Opera has assembled a talented quintet of principal singers whose strengths match this conception of the opera.

Schubert’s Winterreise by Matthias Goerne

This Winterreise is the final instalment of Matthias Goerne’s series of Schubert lieder for Harmonia Mundi and it brings the Matthias Goerne Schubert Edition, begun in 2008, to a dark, harrowing close.

Mary, Queen of Heaven, Wigmore Hall

O Maria Deo grata — ‘O Mary, pleasing to God’: so begins Robert Fayrfax’s antiphon, one of several supplications to the Virgin Mary presented in this thought-provoking concert by The Cardinall’s Musick at the Wigmore Hall.

Analyzed not demonized — Tristan und Isolde, Royal Opera House

Wagner’s Tristan und Isolde at the Royal Opera House, first revival of the 2009 production, one of the first to attract widespread hostility even before the curtain rose on the first night.

Florencia in el Amazonas Makes Triumphant Return to LA

On November 22, 2014, Los Angeles Opera staged Francesca Zambello’s updated version of Florencia in el Amazonas.

John Adams: The Gospel According to the Other Mary

John Adams and his long-standing collaborator Peter Sellars have described The Gospel According to the Other Mary as a ‘Passion oratorio’.

A new Yevgeny Onegin in Zagreb — Prince Gremin’s Fabulous Pool Party

Superb conducting from veteran Croatian maestro Nikša Bareza makes up for an absurd waterlogged new production of Tchaikovsky’s masterpiece.

Nabucco in Novi Sad

After the horrors of Jagoš Marković’s production of Le Nozze di Figaro in Belgrade, I was apprehensive lest Nabucco in Serbia’s second city of Novi Sad on 27th October would be transplanted from 6th century BC Babylon to post-Saddam Hussein Tikrit or some bombed-out kibbutz in Beersheba.

La Bohème in San Francisco

First Toronto, then Houston and now San Francisco, the third stop of a new production of Puccini's La bohème by Canadian born, British nurtured theater director John Caird.

Radvanovsky Sings Recital in Los Angeles

Every once in a while Los Angeles Opera presents an important recital in the three thousand seat Dorothy Chandler Pavilion.

L’elisir d’amore, Royal Opera

This third revival of Laurent Pelly’s production of Donizetti’s L’elisir d’amore needed a bit of a pep up to get moving but once it had been given a shot of ‘medicinal’ tincture things spiced up nicely.

Samling Showcase, Wigmore Hall

Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.

La cenerentola in San Francisco

The good news is that you don’t have to go all the way to Pesaro for great Rossini.

Rameau: Maître à danser — William Christie, Barbican London

Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers.

Le Nozze di Figaro — or Sex on the Beach?

The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.

The Met mounts a well sung but dramatically unconvincing ‘Carmen’

Should looks matter when casting the role of the iconic temptress for HD simulcast?

OPERA TODAY ARCHIVES »

Reviews

Alexander Borodin: Prince Igor (Highlights) / In the Steppes of Central Asia
01 Nov 2005

BORODIN: Prince Igor (Highlights)

Not long ago the record label Delos announced that they would embark on a series of studio recordings of highlights from operas. This intriguing idea seemed to address the recording crisis spawned by the shrinking market for full studio sets, with their high cost for both producer and purchaser.

Alexander Borodin: Prince Igor (Highlights) / In the Steppes of Central Asia

Angelina Shvachka, Dmytro Popov, Mykola Koval, Taras Shtonda, Kiev Chamber Choir, Mykola Hobdych (choirmaster), Ukrainian National Radio Symphony Orchestra, Theodore Kuchar (conductor).

Naxos 8.557456 [CD]

 

The first disc, of Tchaikovsky’s Queen of Spades, featured Dmitri Hvorostovsky in one of his signature roles, Prince Yeletsky, as well as Elena Obraztsova, and Sergei Larin. Despite this fairly successful disc, the series apparently suffered a quiet, ignored death.

Naxos may feel Delos had a good idea, as indicated by a recent release of studio-recorded highlights from Borodin’s Prince Igor. No star as glittery as Hvorostovsky headlines the cast, but the CD offers both the well-known selections (such as the overture and the Polovtsian Dances, here performed with chorus) and four arias.

But why only four arias? At 57 minutes, the CD has plenty of room for more music from the opera, and 7:32 of that total goes to a decent but not outstanding run through of Borodin’s In the Steppes of Central Asia. Such stingy allotment of the opera’s music suggests that Naxos does not feel the opera has that much that can be considered a highlight.

The frustration suggested here derives from the enjoyment produced by the four arias as recorded. Taras Shtonda, a bass, puts across a wonderful comic aria, “I don’t like boredom,” a paean to the sentiment so well expressed once by Mel Brooks, “It’s good to be king!”

Angelina Shvachka’s ripe, very Slavic mezzo will not be to everyone’s taste, but her aria, “Daylight is fading,” showcases Borodin’s atmospheric way with melody. The similarly titled “Slowly the day was fading,” sung by tenor Dmytro Popov, is a seductive ballad, though Popov’s unrelenting volume might be more effective live.

Finally, the title character, sung by Mykola Koval, sings the great “There is neither sleep, nor rest.” Koyal’s vibrato is unrestrained, where restraint could well have been urged, and his top threatens to collapse on him, but he certainly delivers on the drama of this piece.

Naxos, for once, provides a bilingual libretto (Russian/English), but since only the four arias and the choral Polovtsian Dances require translation, no less should be expected, even at Naxos’s prices.

The singers mostly come from the Ukraine National Opera. Kuchar leads the Ukraine National Radio Symphony with authority, and the recorded sound has fine balance and clarity.

Again, surely additional music from the opera should have been included for this disc to be a true “highlights” disc. As it is, Naxos has provided, for modest cost, an enjoyable disc of music from an opera that remains an obscurity, despite the fame of the overture and the Polovtsian Dances. Better singing can be heard on the complete sets of the opera, which can be found by the diligent and dedicated. Otherwise, this Naxos disc will hopefully serve to introduce some listeners to a few of the other delights of the work.

And Naxos will, one hopes, continue in the effort to keep the embers of operatic studio recording aglow, even if it has to be this sadly abridged form.


Chris Mullins
Los Angeles Unified School District, Secondary Literacy

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):