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

LA Opera: Barber of Seville

Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.

Marie-Nicole Lemieux, Wigmore Hall

Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me … I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.

Eine florentinische Tragödie and I pagliacci in Monte-Carlo

An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.

Carmen, Pacific Symphony

On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.

The Mastersingers of Nuremberg, ENO

Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.

San Diego Opera presents an excellent Don Giovanni

On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.

Tosca at Chicago Lyric

In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.

Henri Dutilleux: Correspondances

Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.

LA Opera Revives The Ghosts of Versailles

In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.

La Traviata, ENO

English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).

Idomeneo in Lyon

You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.

Der fliegende Holländer, Royal Opera

I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.

Iphigénie en Tauride in Geneva

Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.

Tristan et Isolde in Toulouse

Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.

Arizona Opera presents Tchaikovsky’s Eugene Onegin

Arizona Opera presented Eugene Onegin during and 1999-2000 season and again on February 1 of this year as part of the 2014-2015 season. In this country Onegin is not a crowd pleaser like La Bohème or Carmen, but its story is believable and its music melodic and memorable. Just hum the beginning of the “Polonaise” and your friends will know the music, if not where it comes from.

Ernst Krenek: Reisebuch aus den österreichischen Alpen, Florian Boesch, Wigmore Hall

Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.

Anna Bolena at Lyric Opera of Chicago

Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.

San Diego Celebrates 50th Year with La Bohème

On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.

English Pocket Opera Company: Verdi’s Macbeth

Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.

Béla Bartók: Duke Bluebeard’s Castle

Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.

OPERA TODAY ARCHIVES »

Reviews

Wolfgang Amadeus Mozart Lieder, Salzburg 1958-1984
21 May 2009

Wolfgang Amadeus Mozart Lieder, Salzburg 1958-1984.

In its recent collection Mozart Lieder, Salzburg 1958-1984 in its series entitled “Festspiel Dokumente,” Orfeo pays homage to the tradition of Liederabend at the Salzburg Festival with selections from a quarter century of performances.

Wolfgang Amadeus Mozart Lieder, Salzburg 1958-1984

Irmgard Seefried, Igenborg Hallstein, Helen Donath, Peter Schreier, Walter Berry, Edith Mathis, Edita Gruberova.

Orfeo d’or 709062 [2CDs]

$36.99  Click to buy

In a two-CD set, it is possible to gain a perspective on these periodic recitals. Starting with the 1958 Festspiel, the recording captures Irmgard Seefried accompanied by Erik Werba, with some of the composer’s representative Lieder. This follows with music from a decade later in 1968 with Ingeborg Hallstein, again with Werba. The other performances follow in quicker succession: 1975’s Liederabend with Peter Schreier accompanied by Jörg Demus and Helen Donath with her pianist husband Klaus; in 1983, Edith Mathis with Heinz Medjimorec, piano; 1984, Edita Gruberova, soprano, and Irwin Gage piano; and in addition, Walter Berry sang Mozart’s Kleine deutsche Kantate, KV 619, with Werba accompanying him. (Gruberova also performed this work in her 1984 Liederabend.) All in all, this set of documents some of the finest exponents of Lieder of the time in performances, as underscored by the rubric on the discs, “Grosse Mozartsänger” (“Great Mozart singers”).

Some of the music is familiar, as with “Das Veilchen,” KV 476, which was part of several recitals, and it is possible to compare the performances by sopranos Hallstein and Gruberova, and enjoy the piece from the tenor Schreier. All three singers offer fine readings of this piece, and it is fortunate to have both in a retrospective collection like this one. Other pieces are not as widely known, as with “Der Zauberer,” KV 472, which Donath and Mathis included in their recitals, or “An Chloe,” KV 524, as performed by Seefried and, later, by Schreier. While most of the songs are indeed Lieder, Schreier, Mathis and Gruberova include several of Mozart’s chansons, such as the Ariette KV 308 “Dans un bois solitaire” (which Schreier renders in German translation and Mathis sings in French) or the Italian canzone “Un moto di gioia,” KV 579, which was part of Seefried’s and Gruberova’s programs. All in all, the collection not only preserves the works of these fine singers, but also offers a fine introduction to the solo vocal music of Mozart.

The performances are generally fine, and it is useful to hear multiple performances of the same pieces to gain a sense of the range of interpretation possible within this part of Mozart’s repertoire. The vibrant approach of Peter Schreier conveys a wonderful engagement with the music as found in the nuances of dynamic within the phrases, as the tenor uses in his performance of “An Chloe.” His effortless approach to higher range matches the control apparent in Schreier’s lower pitches. When compared to other singers singing this literature, Matthis seems more passionate in her interpretations, which are solid and convincing. The performances by Gruberova also merit attention, and her interaction with Irwin Gage demonstrates the way in which these pieces demand the attention such a pianist brings to their execution.

The sound of some examples, as with those of Irmgard Seefried, resembles studio recordings, while others, like those of Ingeborg Hallstein include some audience sounds including, at times, applause. Throughout these recordings, the balance between voice and accompaniment is generally good, with some recitals betraying a more aggressive accompanist, others with the singers placed closer to the microphone, as with Schreier. While some details may be easier to hear in the later recordings, like those of Gruberova from 1984, the quality is uniformly high.

In terms of the set itself, it is useful to have the full text and translations keyed to the tracks. In fact, Orfeo was good to use a single text when pieces are repeated and to include the listing of the tracks in which they also occur. At times the German is rendered differently than found in the music or, in some cases, sung, and those seeking English translations of the song texts will not find them in this rather slim booklet. Nevertheless, the concept behind the recording and, more importantly, the legacy it represents, is honored well in the selection of the pieces by some of the finest exponents of Lieder from the latter part of the twentieth century.

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):