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...
It is not uncommon for opera on DVD to have credits for two directors. In the case of this Paris Capriccio, a new production from June 2004, the credits list Robert Carsen as the stage director and Francois Roussillon as directing for TV and video.
Carsen’s work focuses on bringing energy and movement to this static work, a parlor debate about the primacy of music or words, especially in opera. A brother and sister of nobility act as patrons for a new work, and the young composer and librettist not only vie artistically for primacy, but also to be the Countess’ first choice as paramour (while her brother the Count pursues Clairon, an actress). Meanwhile the proposed director frets that his role is bring slighted, and in a long monologue proposes that without his guiding genius, neither music nor words would come to life. Finally all step aside to get to work, and then the Countess reenters to soliloquize on the glorious unresolved nature of the debate.
The set Carsen works with mirrors the great Paris hall the performance takes place in, with its ornate, golden columns. Although the libretto retains its many references to Gluck as a contemporary opera composer of note, the costumes reflect the era in which Strauss wrote the opera. Dark-clad Nazi officers stray through the set at one point, with no particular purpose in mind.
Now, video director Roussillon had the clever idea of directing a sort of preamble in which Renée Fleming glides through the lobby of the theater, so that all DVD viewers can understand the set’s significance, even if the viewers have never attended an opera in that house. Fine enough.
However, at opera’s end, a very distracting filmed sequence has the cast – including Miss Fleming – taking box seats in the theater to enjoy the Countess’ final monologue. The number of “meaningful glances” exchanged here far exceeds the limit that should be placed on any director, and a coy, artificial feeling that has dogged the entire performance finally overcomes the senses, to an unfortunate degree spoiling the effect of that lovely postlude.
The final stage coup, however, with all the scenery pulling away to reveal the bare interior of the stage, makes for a compensatory climax.
Capriccio is a fragile piece, and without being able to place blame in one exact area, something false about the production hampers and deadens the affair. Perhaps Carsen overdirected, as the performers all work just a bit too hard to have fun. Especially noteworthy here are the cartoonish Italian singers, with some unfunny slapstick. In the huge ensemble section, a compositional miracle from Strauss, the chaotic action distracts from the music’s effect, rather than supporting it.
Carsen certainly has a notable cast to work with. Apart from a couple of tight high notes, Fleming glories in the role, and her dramatic restraint, amidst all the other cavortings, is most welcome. Dietrich Henschel, looking remarkably like the American satirist Harry Shearer, may not be a plausible brother to Fleming but sings well. Rainer Trost and Gerald Finley both appear a little foolish a little too often, which is not their fault, but they have the vocal goods for the roles.
Franz Hawlata makes a huge meal out of his solo, but there is no real character there, in this production. Similarly, Anne Sofie von Otter’s Clarion is all caricature, though she is in good vocal shape and always a charismatic performer. Robert Tear’s little solo scene as the prompter, with the head servant (well played by Petri Lindroos), suffers also from a cartoonish spin. And as mentioned above, Barry Banks and Annamaria Dell’Oste really have to make monkeys of themselves. Yes, they are figures of satire, but as overplayed here, a mean edge creeps in that the creators probably did not intend. Furthermore, as Banks seems to be made up to look a bit like Carlo Bergonzi, those of us who revere the great tenor may find some offense there as well.
No, for Capriccio, surely first choice remains the 1993 San Francisco opera production, with Kiri te Kanawa leading an exemplary cast, including Tatiana Troyanos as a truly stunning and funny Clairon, caught not long before her untimely death. Donald Runnicles leads that performance. Ulf Schirmer and his fine orchestra cannot be faulted at all in this Paris production.
One last cavil – the odd acoustic. On one hand, the voices have perfect placement and any audience present makes not a single cough or rustle. On the other hand, one wonders after a while if the sound picture shouldn’t change a bit when a singer turns his back or moves from stage rear to the front. It does not. Your reviewer almost suspects that this performance was not filmed before a live audience. Although applause greets the end of the performance, no audience is ever shown, and the sense of a performance caught in pristine conditions comes through. The DVD case has no date for the recording, only “June 2004.”
Yes, the cast is great, the music well performed, the sets and costumes imaginative and detailed – but somehow this Capriccio is much, much less than the sum of its considerable parts.
Chris Mullins
Los Angeles Unified School District, Secondary Literacy