Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Recordings

A Splendid Italian Spoken-Dialogue Opera: De Giosa’s Don Checco

Never heard of Nicola De Giosa (1819-85), a composer who was born in Bari (a town on the Adriatic, near the heel of Italy), but who spent most of his career in Naples? Me, neither!

Winterreise by Mark Padmore

Schubert's Winterreise is almost certainly the most performed Lieder cycle in the repertoire. Thousands of performances and hundreds of recordings ! But Mark Padmore and Kristian Bezuidenhout's recording for Harmonia Mundi is proof of concept that the better the music the more it lends itself to re-discovery and endless revelation.

The Epic of Gilgamesh - Bohuslav Martinů

New recording of the English version of Bohuslav Martinů's The Epic of Gilgamesh, from Supraphon, the Czech Philharmonic Orchestra conducted by Manfred Honeck. This is the world premiere recording of the text in English, the original language in which it was written.

Maybe the Best L’heure espagnole Yet

The new recording, from Munich, has features in common with one from Stuttgart that I greatly enjoyed and reviewed here: the singers are all native French-speakers, the orchestra is associated with a German radio channel, we are hearing an actual performance (or in this case an edited version from several performances, in April 2016), and the recording is released by the orchestra itself or its institutional parent.

Stéphanie d’Oustrac in Two Exotic Masterpieces by Maurice Ravel

The two works on this CD make an apt and welcome pair. First we have Ravel’s sumptuous three-song cycle about the mysteries of love and fantasies of exotic lands. Then we have his one-act opera that takes place in a land that, to French people at the time, was beckoningly exotic, and whose title might be freely translated “The Nutty and Delightful Things That Can Happen in Spain in Just One Hour”.

Stefano Secco: Crescendo

I had never heard of Stefano Secco before receiving this CD. But I see that, at age 34, he already has had a substantial career, singing major roles at important houses throughout Europe and, while I was not paying attention, occasionally in the US.

French orientalism : songs and arias, Sabine Devieilhe

Mirages : visions of the exotic East, a selection of French opera arias and songs from Sabine Devieilhe, with Alexandre Tharaud and Les Siècles conducted by François-Xavier Roth, new from Erato

Hans Werner Henze Choral Music

Hans Werner Henze works for mixed voice and chamber orchestra with SWR Vokalensemble and Ensemble Modern, conducted by Marcus Creed. Welcome new recordings of important pieces like Lieder von einer Insel (1964), Orpheus Behind the Wire (1984) plus Fünf Madrigale (1947).

Bettina Smith, Norwegian Mezzo, in Songs by Fauré and Debussy

Here are five complete song sets by two of the greatest masters of French song. The performers are highly competent. I should have known, given the rave reviews that their 2015 recording of modern Norwegian songs received.

Étienne-Nicolas Méhul: Uthal

The opera world barely knows how to handle works that have significant amounts of spoken dialogue. Conductors and stage directors will often trim the dialogue to a bare minimum (Magic Flute), have it rendered as sung recitative (Carmen), or have it spoken in the vernacular though the sung numbers may often be performed in the original language (Die Fledermaus).

A New Anna Moffo?: The Debut Disc of Aida Garifullina

Here is the latest CD from a major label promoting a major new soprano. Aida Garifullina is utterly remarkable: a lyric soprano who also can handle coloratura with ease. Her tone has a constant shimmer, with a touch of quick, narrow vibrato even on short notes.

Il sogno di Scipione: a new recording from Classical Opera

With this recording of Mozart’s 1771 opera, Il sogno di Scipione (Sicpio’s Dream), Classical Opera continue their progress through the adolescent composer’s precocious achievements and take another step towards the fulfilment of their complete Mozart opera series for Signum Classics.

Mozart’s Requiem: Pierre-Henri Dutron Edition

The stories surrounding Mozart’s Requiem are well-known. Dominated by the work in the final days of his life, Mozart claimed that he composed the Requiem for himself (Landon, 153), rather than for the wealthy Count Walsegg’s wife, the man who had commissioned it in July 1791.

Schumann and Mahler Lieder : Florian Boesch

Schumann and Mahler Lieder with Florian Boesch and Malcolm Martineau, now out from Linn Records, following their recent Schubert Winterreise on Hyperion. From Boesch and Martineau, excellence is the norm. But their Mahler Lieder eines fahrenden Gesellen takes excellence to even greater levels

Hans Werner Henze : Kammermusik 1958

"....In lieblicher Bläue". Landmark new recordings of Hans Werner Henze Neue Volkslieder und Hirtengesänge and Kammermusik 1958 from the Scharoun Ensemble Berlin, with Andrew Staples, Markus Weidmann, Jürgen Ruck and Daniel Harding.

Elder conducts Lohengrin

There have been dozens of capable, and more than capable, recordings of Lohengrin. Among the most-often praised are the Sawallisch/Bayreuth (1962), Kempe (1963), Solti (1985), and Abbado (1991). Recording a major Wagner opera involves heavy costs that a record company may be unable to recoup.

Premiere Recording: Mayr’s Telemaco nell’isola di Calipso (1797)

No sooner had I drafted my review of Simon Mayr’s Medea in Corinto,

A Verlaine Songbook

Back in the LP days, if a singer wanted to show some sophistication, s/he sometimes put out an album of songs by famous composers set to the poems of one poet: for example, Phyllis Curtin’s much-admired 1964 disc of Debussy and Fauré songs to poems by Verlaine, with pianist Ryan Edwards (available now as a CD from VAI).

Giovanni Simone Mayr: Medea in Corinto

The Bavarian-born Johann Simon Mayr (1763–1845) trained and made his career in Italy and thus ended up calling himself Giovanni Simone Mayr, or simply G. S. Mayr. He is best known for having been composition teacher to Giuseppe Donizetti.

Matthias Goerne: Bach Cantatas for Bass

In this new release for Harmonia Mundi, German baritone Matthias Goerne presents us with two gems of Bach’s cantata repertoire, with the texts of both BWV 56 and 82 exploring one’s sense of hope in death.  Goerne adeptly interprets the paradoxical combination of hope and despair that underpins these works, deploying a graceful lyricism alongside a richer, darker bass register.

OPERA TODAY ARCHIVES »

Recordings

Richard Strauss: Elektra
15 Oct 2007

STRAUSS : Elektra

Whatever you do, don't give this DVD as a gift to people you don't want to alienate.

Richard Strauss: Elektra

Eva Johansson (soprano) : Elektra, Marjana Lipovšek.(mezzo-soprano): Klytemnestra, Melanie Diener (soprano) : Chrysothemis, Alfred Muff (baritone) Orest, , Rudolf Schasching (tenor) : Aegisthus, Chor des Opernhauses Zürich, Orchester der Opernhaus Zürich, Martin Kušej (Stage Director), Christoph von Dohnnanyi (conductor) Zürich 2005

TDK DVWW-OPELEK [DVD]

$29.98  Click to buy

This production focusses on the opera as the drama of a horribly dysfunctional family. Murderous they may be, but they're still recognisably human, not stereotypes. Elektra isn't just a raving madwoman but someone with whom we can readily identify. Dressed in a hoodie and fingerless gloves, she's the punky rebel we've all encountered. That probably says something disturbing about the society in which we live, but it's all the more reason for listening to this interpretation.

Gőtz Freidrich's visualisation of the Bőhm production was so powerful that it's hard to shake images of Rysenek and Varney, haunted and distraught, emerging from a murky background. Perhaps this new production is a conscious effect to break away, for the Zűrich production is lit so harshly that it hurts, achieving an oppressive effect by opposite means. The very ground beneath the singers undulates, underlining the shaky foundations of Klytemnestra's power. Holes in the floor provide burrows in which Elektra can hide, like a feral beast. Like abused children, she's had no support, and hardship has taken its toll.

This production places some emphasis on social commentary. Doors open and close along barren corridors, as if the palace were a hotel. I doubt that Kušej knowingly made the connection, but Klytemnestra and Aegisthus are indeed the type who think morals apply “only to little people”. The contemporary focus also brings out interesting secondary themes. Elektra and Chrysothemis represent completely different ways of coping with the family trauma, and by extension, illustrate the choices open to women in society. This is in the libretto and in the music, so it's not inappropriate and is not, in any case, overdone.

More developed, though, is the production's fascination with sexual ambiguity. The story wouldn't have happened in the first place if were it not for Aegisthus and Klytemnesrra having an illicit relationship, so there's clearly a sexual undercurrent. Yet Elektra's identification with her father and brother goes deeper than anger at her father's death. The scene in which she buries the apparition of a little blond girl ties in psychologically with her revulsion at being touched by Orestes and the frisson with which she imagines her sister's marriage. Her kind of madness would have fascinated Freud, and the wordly circles in which Strauss moved. But what do we make of the naked young men who flit across the stage in suspender belts and lipstick ? Or the butch mistress who manages the maidservants ? Or Aegisthus with so much rouge ? Definitely these things contribute to the idea of a court where aberration rules, but the scene in which half the cast turns up in feather tutus is a bit beyond me. It's certainly spectacular, though, and a visual release after all that repression .

Eva Johanssen convinces as this conflicted Elektra because she's a good actress, the subtlety of her portrayal captured better on film through close-ups and quick cuts than would come over in stage performance. Vocally, her range is more restricted, but this is not a role that requires prettiness. Just as Elektra had to hold out alone for years, awaiting vengeance, Johanssen's part heroically supports the whole opera. She creates the character even when she's not actually singing. Lipovšek's Klytemnestra is surprisingly sympathetic. She uses the natural roundness in her voice to balance the harshness inherent in the role. Klytemnestra has bad dreams, so she does have a conscience, not at that far from the surface. In comparison, Deiner, Muff and Schasching have relatively straight forward parts. The dialogues, such as between the sisters, and later when Elektra faces off Aegisthus, come over clearly. A pleasant surprise was Sen Gou. It's probably back handed compliment to single out one of the maids in a chorus, but her role is more important than it might seem, for she's the maid who defends Elektra when all the others condemn her. This maid, like Elektra herself, is “allein” and suffers for being an individual. Sen Gou's personality and singing definitely stood out. I also liked the orchestral playing, for Dohnanyi's lucid style did not submerge the spartan angularities in the music. Even when he's evoking the wild abandon of the final dance, his clear vision respects the modernity in Strauss's orchestration. This new production certainly won't supplant the Bőhm on DVD, but it's an approach which enhances the opera as a human drama.

Anne Ozorio

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):