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 Reviews

The "Lost" Songs of Morfydd Owen

A new recording, made late last year, Morfydd Owen : Portrait of a Lost Icon, from Tŷ Cerdd, specialists in Welsh music, reveals Owen as one of the more distinctive voices in British music of her era : a grand claim but not without foundation. To this day, Owen's tally of prizes awarded by the Royal Academy of Music remains unrivalled.

Enchanting Tales at L A Opera

On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.

Ermonela Jaho in a stunning Butterfly at Covent Garden

Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.

Brave but flawed world premiere: Fortress Europe in Amsterdam

Calliope Tsoupaki’s latest opera, Fortress Europe, premiered as spring began taming the winter storms in the Mediterranean.

New Sussex Opera: A Village Romeo and Juliet

To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.

Cast announced for Bampton Classical Opera's 2017 production of Salieri's The School of Jealousy

Following highly successful UK premières of Salieri’s Falstaff (in 2003) and Trofonio’s Cave (2015), this summer Bampton Classical Opera will present the first UK performances since the late 18th century of arguably his most popular success: the bitter comedy of marital feuding, The School of Jealousy (La scuola de’ gelosi). The production will be designed and directed by Jeremy Gray and conducted by Anthony Kraus from Opera North. The English translation will be by Gilly French and Jeremy Gray. The cast includes Nathalie Chalkley (soprano), Thomas Herford (tenor) and five singers making their Bampton débuts:, Rhiannon Llewellyn (soprano), Kate Howden (mezzo-soprano), Alessandro Fisher (tenor), Matthew Sprange (baritone) and Samuel Pantcheff (baritone). Alessandro was the joint winner of the Kathleen Ferrier Competition 2016.

La voix humaine: Opera Holland Park at the Royal Albert Hall

Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.

London Handel Festival: Handel's Faramondo at the RCM

Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.

Brahms A German Requiem, Fabio Luisi, Barbican London

Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.

Káťa Kabanová in its Seattle début

The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.

Bampton Classical Opera Young Singers’ Competition 2017

Applications are now open for the Bampton Classical Opera Young Singers’ Competition 2017. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.

Festival Mémoires in Lyon

Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).

Handel's Partenope: surrealism and sensuality at English National Opera

Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.

Christoph Prégardien and Julius Drake at the Wigmore Hall

The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.

La Tragédie de Carmen at San Diego

On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).

Kasper Holten's farewell production at the ROH: Die Meistersinger von Nürnberg

For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.

AZ Musicfest Presents Mendelssohn's Italian Symphony and Leoncavallo's Pagliacci

The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.

English Touring Opera Spring 2017: a lesson in Patience

A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.

Tara Erraught: mezzo and clarinet in partnership at the Wigmore Hall

Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.

Opera Across the Waves

This Sunday the Metropolitan Opera will feature as part of the BBC Radio 3 documentary, Opera Across the Waves, in which critic and academic Flora Willson explores how opera is engaging new audiences. The 45-minute programme explores the roots of global opera broadcasting and how in particular, New York’s Metropolitan Opera became one of the most iconic and powerful producers of opera.

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):