15 Nov 2005
STRAUSS: Lieder
The Lieder of Richard Strauss lend themselves well to various interpretations that bring out different aspects of the music.
Recently in Recordings
Italian Opera at the Liceu
The Gran Teatre del Liceu in Barcelona, after suffering a calamitous fire in the early 1990s, reopened in 1999, lovingly restored. TDK has released a series of DVDs from the Liceu since that date, providing ample evidence of the world...
MAHLER: Das Lied von der Erde
Premiered posthumously, the symphonic song-cycle Das Lied von der Erde by Gustav Mahler (1860-1911) remains one of his defining works because of its synthesis of song and symphony, two genres he pursued throughout his career.
J. S. Bach, arr. Robert Schumann. Johannes Passion.
In 1851 during his first season as music director in Düsseldorf, Robert Schumann presented a performance of Bach’s St. John Passion, and unsurprisingly adapted the score both to nineteenth-century taste and nineteenth-century practicalities.
DE LALANDE: Les Folies de Cardenio.
The centrality of dance at the French court helped bring grace, order, and political allegory into the characteristic prominence they enjoyed during the reigns of Louis XIV and Louis XV; theatre presentations of all stripes were infused with choreographic diversions.
SIBELIUS: Symphonies 1-7
In tandem with the recently released set of Sir Simon Rattle’s recordings of Mahler’s symphonies on EMI Classics, the set of the complete symphonies by Jean Sibelius merits attention.
Wagner: Orchestral Hightlights from the Operas
As much as Richard Wagner espoused opera reform in his theoretical writings by bringing to his works for the stage a closer unity between music and text, his actual means of doing so at times involved the use of orchestral forces that sometimes overwhelmed the sung word.
Italian opera on Gala
The budget label Gala purveys live performances both historic and relatively recent; of the three discussed here, the La Scala Fedora dates back to 1931, while the Attila comes from a 1987 La Fenice performance.
Echo de Paris: Parisian Love Songs 1610-1660
National styles of music in the seventeenth century were often distinctive, and in the case of French and Italian music, famously so.
MAHLER: Symphonies 1-10
With its recent release of Mahler’s symphonies conducted by Sir Simon Rattle, EMI Classics makes available in a single place an outstanding contribution to the composer’s discography.
WAGNER: Parsifal
This DVD records and commemorates a 1981 production of Parsifal in its Bayreuth lair, and the singers of 1981 are as fine as recollection might paint them.
Historic opera performances in Russian on Gala
Once the custom of the world's opera houses was to translate great operas into the language of each respective country.
Deutsche Grammophon budget opera sets
Repackaging older recordings having become the primary focus of a classical recording company's business, Deutsche Grammophon budgeted some funds for art direction for its budget series called "Opera House" (although that appellation only appears in a link found on the back inside cover of the sets' booklets).
STRAUSS: Der Rosenkavalier
Of Rosenkavaliers on DVD, the classics tend to be lovingly detailed productions, going back to the film of Herbert von Karajan leading an exemplary cast, with Elizabeth Schwarzkopf's iconic Marschallin.
Lamentazioni per la Settimana Santa
Despite an unsurprising degree of conservatism in liturgical music, devotional life in Rome often found ways of taking advantage of modern musical style.
Castradiva
“Her fioritura is priceless, breathtaking, and effortless.”
“One Foot in Eden Still, I Stand”: Choral Music by Nicholas Maw.
The English composer Nicholas Maw has been a major voice since the 1960's, with a wide range of works that include the 2002 opera, "Sophie’s Choice," a violin concerto for Joshua Bell (1993), and the monumentally-scaled orchestral work, "Odyssey" (1972-87).
MOZART: Requiem (Neukomm ed.)
As is often the case, last works that remain incomplete at the time of a composer’s death, are quick to invoke controversy and conspiracy theories.
ROUSSEAU: Le Devin du Village
This is a valuable new recording of a work that is only rarely heard, but was widely influential and wildly popular during the eighteenth century. Philosophe Jean-Jacques Rousseau wrote both the libretto and the music, with mixed success.
Les Élémens
This disc is well worth the price for the first track alone: the opening measures of Jean-Féry Rebel’s “Cahos,” (Chaos), written in 1737 or 1738, may cause you to wonder if you accidentally left a Stockhausen or Ligeti disc in the changer.
Jan Neckers on Recently Reissued Historicals: December 2007
This recording made half a century ago will not be anyone’s first choice unless one is a die-hard fan of one of the principal singers; neither of them belonging to the absolute top in their profession.
OPERA TODAY ARCHIVES »
Recordings
Traditionally, the composer’s Vier letzte Lieder and the set of Neun Lieder, op. 10, have been associated with female voices, even though Strauss did not assign a gender to those pieces. For a male singer to confront this tradition may be regarded by some as a risk. Yet the deft touch and nuanced coloring that is part of many fine performances are found in the performances of Jarnot and Deutsch on this CD.
This recording opens with the familiar Strauss song, “Zueignung” (op. 10, no. 1), and it is clear from the start that this music fits Jarnot’s supple baritone voice. He approaches this song with a rich, sweet sound that is approach to Strauss’s setting of the text by Hermann von Gilm, and the recurring phrase “Habe Dank” is connected well to the lines that precede it. Jarnot gives appropriate vigor and energy to the second song, “Nichts,” and shows restraint in his interpretation of the following one, “Die Nacht.” In the last song, Jarnot demonstrates his ability to sustain the long phrases that are part of much of Strauss’s vocal music, not only in the Lieder, but also in the operas. In giving full measure to the longer phrases found in that piece and others in this set, Jarnot uses a resonant, ringing tone that fits the style of the music quite naturally. While some of the lighter aspects of Jarnot’s baritone voice are apparent in his recent recording of Mahler’s Lieder, it is in these works by Strauss that shows some of the fuller sounds that he can produce, as in “Die Georgine.” This recording is notable for its inclusion of “Wer hat’s getan?”, a song that Strauss withdrew from the op. 10 set when it was published. While the song has been recorded before, it works well for Jarnot’s voice.
His approach to the Vier Lieder, op. 27 is similarly effective. “Ruhe, meine Seele! (op. 27, no. 1) is notable for the perceptive interpretation that Jarnot contributes to this song and the others in the set. “Cäcilie” benefits from an aggressive approach, and Jarnot conveys the text particularly well, especially in those passages that are almost employ declamatory style. The ringing tone he brings to this song and “Heimlisches Aufforderung” is welcome, since this music demands the vigor he brings to these songs.
Of the music on this recording, perhaps the known best are the Vier letzte Lieder, which are usually performed by a female singer and often with orchestral accompaniment. Given the current performance tradition that includes memorable recordings by such outstanding interpreters as Elizabeth Schwarzkopf, Jessye Norman, Renee Fleming, and other women, Jarnot’s decision to sing these pieces – as a baritone and with piano accompaniment – calls attention to the timbre associated with this work. From the outset, the deeper voice type is apparent, and Jarnot’s sensitivity to the character of the music in this set is clearly present in “Frühling,” a piece that requires the attention he has given to its details. Jarmpt colors his voice appropriately in the second song, “September,” to allow the text to emerge persuasively. Throughout that song and the others in the set Deutsch’s accompaniment is notable for being present without overtaking the performance. The fuller textures that sometimes occur are played in context. In some extended passages, as in “Beim Schlafengehen,” Deutsch takes the lead so that the full-voiced piano and the extroverted baritone timbre create a memorable performance. In this song and the final one of the set, “Im Abendrot,” Jarnot and Deutsch are at their best. The extended vocal line in “Im Abendrot” that is, at times, punctuated by figures in the accompaniment demonstrates how these songs can work well with piano.
With the Vier letzte Lieder and the other selections on this recording, Jarnot offers some fine performances of Strauss. Whether he chooses Lieder traditionally associated with women’s voices is immaterial when he can bring a fine interpretation to the music. Jarnot’s approach to Strauss is sound and would be effective with many other selections from the composer’s oeuvre. Some would debate this choice, but the finesse he brings to the recording is laudable. In fact the notes that accompany the CD include the baritone’s comments about the selections:
. . . I am very interested in recording music I have a real opinion about. I think that the Four Last Songs can gain more meaning through a performance with a deep masculine voice. . . . I sing the Four Last Songs because I love them and because I think that the result can be a good one. . . .
Jarnot’s comments suggest something crucial to effective performances: the stake the musicians have in pursuing music that truly moves them. His passion for Strauss emerges in this effective recording and reveals something about his own artistic disposition.
This is fine recording of Lieder from various parts of Strauss’s career merits attention, and those who enjoy this repertoire should appreciate Jarnot’s presentation of the music. The sound is nicely balanced and serves the music well. Those who enjoy Strauss’s Lieder should find much of interest in this recording, which represents yet another excellent contribution by the young baritone Conrad Jarnot.
James L. Zychowicz
Madison, Wisconsin