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

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.

Gramophone Award Winner — Matthias Goerne Brahms Vier ernste Gesänge

Winner of the 2017 Gramophone Awards, vocal category - Matthias Goerne and Christoph Eschenbach - Johannes Brahms Vier ernste Gesänge and other Brahms Lieder. Here is why ! An exceptional recording, probably a new benchmark.

Véronique Gens: Visions from Grand Opéra

Ravishing : Visions, Véronique Gens in a glorious new recording of French operatic gems, with Hervé Niquet conducting the Münchener Rundfunkorchester. This disc is a companion piece to Néère, where Gens sang familiar Duparc, Hahn, and Chausson mélodies.

John Joubert's Jane Eyre

Librettists have long mined the literature shelves for narratives that are ripe for musico-dramatic embodiment. On the whole, it’s the short stories and poems - The Turn of the Screw, Eugene Onegin or Death in Venice, for example - that best lend themselves to operatic adaptation.

Through Life and Love: Louise Alder sings Strauss

Soprano Louise Alder has had an eventful few months. Declared ‘Young Singer of the Year’ at the 2017 International Opera Awards in May, the following month she won the Dame Joan Sutherland Audience Prize at the BBC Cardiff Singer of the World.

A Master Baritone in Recital: Sesto Bruscantini, 1981

This is the only disc ever devoted to the art of Sesto Bruscantini (1919–2003). Record collectors value his performance of major baritone roles, especially comic but also serious ones, on many complete opera recordings, such as Il barbiere di Siviglia (with Victoria de los Angeles). He continued to perform at major houses until at least 1985 and even recorded Mozart's Don Alfonso in 1991, when he was 72.

Emalie Savoy: A Portrait

Since 1952, the ARD—the organization of German radio stations—has run an annual competition for young musicians. Winners have included Jessye Norman, Maurice André, Heinz Holliger, and Mitsuko Uchida. Starting in 2015, the CD firm GENUIN has offered, as a separate award, the chance for one of the prize winners to make a CD that can serve as a kind of calling card to the larger musical and music-loving world. In 2016, the second such CD award was given to the Aris Quartett (second-prize winner in the “string quartet” category).

Detlev Glanert : Requiem for Hieronymus Bosch

Detlev Glanert's Requiem for Hieronymus Bosch should be a huge hit. Just as Carl Orff's Carmina Burana appeals to audiences who don't listen to early music (or even to much classical music), Glanert's Requiem for Hieronymus Bosch has all the elements for instant popular success.

A Falstaff Opera in Shakespeare’s Words: Sir John in Love

Only one Shakespeare play has resulted in three operas that get performed today (whether internationally or primarily in one language-region). Perhaps surprisingly, the play in question is a comedy that is sometimes considered a lesser work by the Bard: The Merry Wives of Windsor.

A Resplendent Régine Crespin in Tosca

There have to be special reasons to release a monophonic live recording of a much-recorded opera. Often it can give us the opportunity to hear a singer in a major role that he or she never recorded commercially—or did record on some later occasion, when the voice was no longer fresh. Often a live recording catches the dramatic flow better than certain studio recordings that may be more perfect technically.

Karine Deshayes’s Astonishing New Rossini Recording

Critic and scholar John Barker has several times complained, in the pages of American Record Guide, about Baroque vocal recitals that add instrumental works or movements as supposed relief or (as he nicely calls them) “spacers.”

Knappertsbusch’s Only Recording of Lohengrin Released for the First Time

Hans Knappertsbusch was one of the most renowned Wagner conductors who ever lived. His recordings of Parsifal, especially, are near-legendary among confirmed Wagnerians.

Kathleen Ferrier Remembered

Kathleen Ferrier Remembered, from SOMM Recordings, makes available on CD archive broadcasts of British and German song. All come from BBC broadcasts made between 1947 and 1952. Of the 26 tracks in this collection, 19 are "new", not having been commercially released. The remaining seven have been remastered by sound restoration engineer Ted Kendall. Something here even for those who already own the complete recordings.

OPERA TODAY ARCHIVES »

Recordings

Paul Hindemith: Mathis der Mahler
17 Aug 2008

HINDEMITH: Mathis der Mahler

Premiered in 1938 in Zurich, Mathis der Maler was then the most recent of Paul Hindemith’s provocative operas.

Paul Hindemith: Mathis der Mahler

Falk Struckmann, Scott MacAllister, Susan Anthony, Inga Kalna, Pär Lindskog, Chor der Staatsoper Hamburg, Philharmoniker Hamburg, Simone Young (cond.)

Oehms Classics OC 908 [3CDs]

$33.99  Click to buy

Drawing on the tradition of operas on historic topics, the composer used the opportunity to recount the story of the sixteenth-century century painter Matthias Grünewald, best known today for his altarpieces at Isenheim, whose was caught up in the Peasants’ War to serve as a commentary on the contemporary situation in Nazi Germany. Hindemith’s Mathis der Maler has come to be regarded as a modern parable about the plight of the artist in the midst of social unrest and political restrictions. As pointed out in Wilhelm Sinkovicz’s notes about the opera that accompany this recording, in Mathis der Maler Hindemith violated some of the principles of music composition that the Nazi regime had already legislated for the Reich and thus, by extension, set himself up for the same kind of criticism as the protagonist of the work. Not a roman a clef or any sort of thinly disguised autobiography, the opera serves a dual purpose in portraying the story found in the libretto and also in serving as a kind of socio-political commentary that would not be lost on the censors.
Within the seven-scene structure of Mathis der Maler, Hindemith used instrumental interludes at various points to show Grünewald working on various paintings in his career. In fact, it is these interludes that are the basis for the symphony that Hindemith composed from this opera, and which may be the best-known version of the work. The interludes serve as anchoring points that underscore the calling of the protagonist as a painter of sacred images, and thus an individual whose career requires the imprimatur, as it were, from the religious establishment. In the opening of the opera Grünewald’s work on a large fresco causes him to question his efforts, and the palpable response comes from the peasants’ leader Schwalb and his daughter Regina finding sanctuary in the monastery church in Mainz where Mathis is working. The question of pursuing the arts versus a career of action emerges, but in the ensuing intrusion of the army puts the monks at risk for harboring Schwalb. Mathis intervenes at the threat of later revenge from Schaumburg. In the second scene of the act, Mathis is similarly compromised by the attraction of a young woman to whom the local Cardinal is enamored. The situation is further complicated by financial concerns that involve the burger Riedinger, and Mathis renounces religious patronage to pursue work in the secular venue. Mathis witnesses the struggles between the Papists and Lutheran which, in turn, involve the struggle between the peasants and the wealthy. Caught between various loyalties, Mathis feels the strife to find refuge in another city, Köngishofen and is disaffected by the cruelty of the peasants’ army. Mathis finds solace with Regina, with whom he flees to the mountains and away from the political strife their personal allegiances had taken them. Eventually Mathis is rescued from his flight by the aristocrat Albrecht von Brandenburg and given the opportunity to work. Along the way, Mathis has lost Regina and almost everyone who has been close to him. Despite the promises of Albrecht, Mathis takes up a few belongs to leave the refuge that would have provided him physical security as the opera ends.

The opera is epic in conception and this recording, derived from live performances at the Staatsoper, Hamburg, would benefit from the inclusion of the full libretto or, at least, access to a version to download from the Oehms’ website. The text would assist the listener in following the exchanges between various characters and to follow the details in the dialogue that provide the basis for the score. While the details plot summary is keyed to the various bands of the recording, it is not a substitute for the libretto or, ideally, the score, which deserves attention for the various details that emerge from attention to its own details.

This recording makes available a modern performance of the work, which had been available on CD through one previously issued recording, the one led by Rafael Kubelik in 1977 with the Bavarian Radio Symphony Orchestra. While the latter is a studio recording, the Oehms CD presents a live performance, and that lends a sense of intensity to this important twentieth-century opera. As the title character the fine German baritone Falk Struckmann offers an impressive portrayal of Matthias Grünewald. Setting the tone for the plight of his character, the opening aria “Sonniges Land” in the first scene is impassioned, yet well articulated. It is characteristic of this performance, which contains an appropriate decorum to convey the full import of the music. His characterization is subtle and effective, with a fine sense of the drama that must emerge in the final scenes of this powerful work.

Throughout the orchestra supports the vocal lines without getting in its way. Yet when the music must shift the mood, as with Schwalb’s entrance that follows “Aufmachen! Helft us!”, it resembles the kind of give-and-take with orchestral balance that is essential to some of Puccini’s scores. Schwalb’s aria “Was redest du da?” is equally pointed, with Pår Lindskog sounding forceful, but never stressed. The affect associated with some of the tenor roles of Verismo receives a different treatment in Hindemith’s hands, where the character is required to perform some intensively declamatory lines in the register that is sometimes used for more lyric expression.

As Regina, Inga Kalna’s clear soprano sound is welcome, and she blends well with Schwalb to keep in character and propel the text. The other prominent female voice, that of Ursula, portrayed by Susan Anthony, stands out for ringing tone and fine sound. She lends nuance to the aria “Was bin ich anderes in dieser Männerwelt?” a piece that offers a commentary on the role of women, and anticipates, in a sense, the resignation that eventually becomes Mathis’s response to the conflicts presented in this work.

The choral scenes are demonstrate the kind of precision that makes this work effective, with the opening of the third scene capturing the spirited discourse of the Lutherans before the book-burning. The choral shadings lend depth to the color, as this scene contrasts the more solo-vocal writing earlier in the work. In a sense the chorus paints the scene in this work in much the same way as it does in Cardillac, Hindemith’s opera based on the famous E. T. A. Hoffmann story. Choral writing like this deserves the careful attention to detail that is part of Simone Young’s performance.

All in all, the sound quality is admirable, with the atmosphere prelude, the “Engelkonzert” both performed and recorded with appropriate finesse. Familiar music from the symphony that takes its name from the opera, the movement has its challenges in balance, which Simone Young meets well. Her approach to the score is compelling for its fine pacing and energy.

The music is impassioned, and with a work like Mathis der Maler it is important to see the work on stage. This recording offers some perspectives of an important new production of the opera, but it would be served better by presentation on DVD so that the full impact of this important but seldom-performed work can be apprehended more easily. Lacking that, this recording would benefit from the inclusion of the full libretto, so that those interested in the work can follow the intricate text. For the production at hand, though, the recording has much to offer and represents Hindemith’s score well. An opera of ideas, as well as a compelling depiction of the life of an artist in a time of conflict, Mathis der Maler is a work that should resonate with modern audiences as much as it did in Hindemith’s own time, and this recording demonstrates the durability of the opera, which deserves to be heard more frequently.

James L. Zychowicz

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):