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

Hugo Wolf, Italienisches Liederbuch

Nationality is a complicated thing at the best of times. (At the worst of times: well, none of us needs reminding about that.) What, if anything, might it mean for Hugo Wolf’s Italian Songbook? Almost whatever you want it to mean, or not to mean.

San Jose’s Dutchman Treat

At my advanced age, I have now experienced ten different productions of Wagner’s The Flying Dutchman in my opera-going lifetime, but Opera San Jose’s just might be the finest.

Mortal Voices: the Academy of Ancient Music at Milton Court

The relationship between music and money is long-standing, complex and inextricable. In the Baroque era it was symbiotically advantageous.

Glyndebourne Opera Cup 2018: semi-finalists announced

The semi-finalists for the first Glyndebourne Opera Cup have been announced. Following a worldwide search that attracted nearly 200 entries, and preliminary rounds in Berlin, London and Philadelphia, 23 singers aged 21-28 have been chosen to compete in the semi-final at Glyndebourne on 22 March.

ENO announces Studio Live casts and three new Harewood Artists

English National Opera (ENO) has announced the casts for Acis and Galatea and Paul Bunyan, 2018’s two ENO Studio Live productions. ENO Studio Live forms part of ENO Outside which takes ENO’s work to arts-engaged audiences that may not have considered opera before, presenting the immense power of opera in more intimate studio and theatre environments.

Handel in London: 2018 London Handel Festival

The 2018 London Handel Festival explores Handel’s relationship with the city. Running from 17 March to 16 April 2018, the Festival offers four weeks of concerts, talks, walks & film screenings explore masterpieces by Handel, from semi-staged operas to grand oratorio and lunchtime recitals.

Dartington International Summer School & Festival: 70th anniversary programme

Internationally-renowned Dartington Summer School & Festival has released the course programme for its 70th Anniversary Summer School and Festival, curated by the pianist Joanna MacGregor, that will run from 28th July to 25th of August 2018.

I Puritani at Lyric Opera of Chicago

What better evocation of bel canto than an opera which uses the power of song to dispel madness and to reunite the heroine with her banished fiancé? Such is the final premise of Vincenzo Bellini’s I puritani, currently in performance at Lyric Opera of Chicago.

Iolanthe: English National Opera

The current government’s unfathomable handling of the Brexit negotiations might tempt one to conclude that the entire Conservative Party are living in the land of the fairies. In Gilbert & Sullivan’s 1882 operetta Iolanthe, the arcane and Arcadia really do conflate, and Cal McCrystal’s new production for English National Opera relishes this topsy-turvy world where peris consort with peri-wigs.

Il barbiere di Siviglia in Marseille

Any Laurent Pelly production is news, any role undertaken by soprano Stephanie d’Oustrac is news. Here’s the news from Marseille.

Riveting Maria de San Diego

As part of its continuing, adventurous “Detour” series, San Diego Opera mounted a deliciously moody, proudly pulsating, wholly evocative presentation of Astor Piazzolla’s “nuevo tango” opera, Maria de Buenos Aires.

La Walkyrie in Toulouse

The Nicolas Joel 1999 production of Die Walküre seen just now in Toulouse well upholds the Airbus city’s fame as Bayreuth-su-Garonne (the river that passes through this quite beautiful, rich city).

Barrie Kosky's Carmen at Covent Garden

Carmen is dead. Long live Carmen. In a sense, both Bizet’s opera and his gypsy diva have been ‘done to death’, but in this new production at the ROH (first seen at Frankfurt in 2016) Barrie Kosky attempts to find ways to breathe new life into the show and resurrect, quite literally, the eponymous temptress.

Candide at Arizona Opera

On Friday February 2, 2018, Arizona Opera presented Leonard Bernstein’s Candide to honor the 100th anniversary of the composer’s birth. Although all the music was Bernstein’s, the text was written and re-written by numerous authors including Lillian Hellman, Richard Wilbur, Stephen Sondheim, John La Touche, and Dorothy Parker, as well as the composer.

Satyagraha at English National Opera

The second of Philip Glass’s so-called 'profile' operas, Satyagraha is magnificent in ENO’s acclaimed staging, with a largely new cast and conductor bringing something very special to this seminal work.

Mahler Symphony no 8—Harding, Swedish Radio Symphony Orchestra

From the Berwaldhallen, Stockholm, a very interesting Mahler Symphony no 8 with Daniel Harding and the Swedish Radio Symphony Orchestra. The title "Symphony of a Thousand" was dreamed up by promoters trying to sell tickets, creating the myth that quantity matters more than quality. For many listeners, Mahler 8 is still a hard nut to crack, for many reasons, and the myth is part of the problem. Mahler 8 is so original that it defies easy categories.

Wigmore Hall Schubert Birthday—Angelika Kirchschlager

At the Wigmore Hall, Schubert's birthday is always celebrated in style. This year, Angelika Kirchschlager and Julius Drake, much loved Wigmore Hall audience favourites, did the honours, with a recital marking the climax of the two-year-long Complete Schubert Songs Series. The programme began with a birthday song, Namenstaglied, and ended with a farewell, Abschied von der Erde. Along the way, a traverse through some of Schubert's finest moments, highlighting different aspects of his song output : Schubert's life, in miniature.

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.

Ilker Arcayürek at Wigmore Hall

The first thing that struck me in this Wigmore Hall recital was the palpable sincerity of Ilker Arcayürek’s artistry. Sincerity is not everything, of course; what we think of as such may even be carefully constructed artifice, although not, I think, here.

OPERA TODAY ARCHIVES »

Reviews

Gustav Mahler: Symphony no. 4
15 Sep 2009

Gustav Mahler: Symphony no. 4 in G major

The legacy of the late conductor Giuseppe Sinopoli includes a number of fine recordings of Mahler’s music, and among them is his Deutsche Grammophon recording of the composer’s Fourth Symphony with the Philharmonia Orchestra and the soprano Edita Gruberova.

Gustav Mahler: Symphony no. 4 (Edition Staatskapelle Dresden Vol. 21)

Juliane Banse, soprano, Staatskapelle Dresden, Giuseppe Sinopoli, conductor.

Hänssler PH0747 [CD]

$17.98  Click to buy

While that recording dates from the early 1990s, Sinopoli performed the work later in his career with different forces, and that resulted in an impressive reading of the Fourth Symphony with the Staatskapelle Dresden. The performance of the Fourth Symphony was part of the 1999 Dresden Music Festival, specifically a concert given on 29 May 1999. With this recent issue by Hänssler in its Profil series in the Edition Staatskapelle Dresden, a fine recording of that performance is now available.

This later recording is notable in several way, since it is an impressive performance of the work and involves a fine interpretation of the Song-Finale “Das himmlische Leben” by the soprano Juliane Banse. In addition, the recording also preserves a seventeen-minute talk by Sinopoli, which serves as an introduction to the work. (The talk is given in German, with a transcription by Eberhard Steindorf included in the program notes.)

As a respected interpreter of Mahler’s music, Sinopoli brings a fine sense of style to his conception of this work. The first movement is conceived well, with a deft sensitivity to the form of the movement and its scoring. From the opening moments of the movement, Sinopoli conveys a dynamism, which allows the work to move forward. His tempo for the opening gesture, the so-called *Schellenkappe *- the jangling bells of the fool’s cap - are perfunctory, so that Sinopoli can give a more nuanced shape to the main theme. This kind of fluidity is characteristic of the entire movement is carefully structured, without seeming calculated. Such attention to details is consistent throughout, and includes a well-conceived tempo for the coda, which has the appropriate sense of underscoring the music that came before it.

With the Scherzo, Sinopli offers a similarly structured approach to the work, so that the passages for the *scordatura *solo violin emerged easily. A similar expansiveness occurs later, when other solo instruments are part of the structure, and the latitude Sinopoli gave those entrances fits well into the overall . His sense of drama at eh climax of the movement stands out from other performances, because of the breadth Sinopoli adds to the music at this point. The cadence into the section suggests, momentarily a sense of rubato, which the strings take up in an exemplary rendering of the portamento Mahler indicated in the score.

The third movement contains an emotional pitch which needs the expression Sinopoli used in this performance. From the opening measures, which evoke the ensemble “Mir ist so wunderbar” in the quartet from the first act of Beethoven’s opera Fidelio, Sinopoli offers a clear vision of this tightly structured movement. A set of double variations, the performance also has a sense of spontaneity which comes from the intense playing of the Staatskapelle Dresden. The sustained pitches of the violins never flag, while the wind sonorities intersect without becoming overbearing. Without seeing the performance, it is possible to perceive an intensity in the interactions of the members of the orchestra in this recording. In some of the passages of the slow movement, the players seems attuned to the score, such that the give-and-take which necessarily occurs in professional ensembles like this one is even more acute. Midway through the movement, in the passage for solo oboe, the slightly slower tempo that Sinopoli used, allows details to emerge, like the written-out ornaments and the horn figures which response to each other distinctively. While it is nowhere rushed, the movement contains a well-considered intensity that solidly sets up the coda, the famous fanfare, which anticipates the concluding movement found in the song “Das himmlische Leben.” As elsewhere in this performance, no details have escaped Sinopoli, and his attention to the final measures of the coda demonstrate his knowledge of Mahler’s works in the way he brought out the motivic relationship to the song “Ich bin der Welt abhanden gekommen”in the thematic content, while simultaneously rendered the texture so that it has a timbral affinity to the scoring, which anticipates the *Adagietto *of the Fifth Symphony.

In the concluding movement, Juliane Banse offers a sensitive reading of the Song-Finale, with exemplary diction and expression. Her phrasing makes sense of both the poetry and its musical setting, a combination which is lauded, but rarely executed. That stated, Banse offers here a moving and insightful reading of the song. The balance between the lower and upper registers of her voice is nicely even, and complemented by a fine tone in the sustained pitches, which Banse takes to the full values of the notation. It is difficult to point to any single passage without slighting others, but the phrase “Sanct Ursula dazu lacht” evinces the dynamic tension and insightful musicality of Banse’s performance, with the portamento reinforcing the cadence and the change of mood in the song. This is but one passage in a performance which is consistently satisfying on various levels. Moreover, in conceiving the Song-Finale, Sinopoli has taken the movement a little more slowly than some other conductors, and this brings out certain elements, which connect the song to the movements which precede it. It is, ultimately, a convincing performance because of the intensity, which emerges in the various details that come together brilliantly.

This performance is a fine addition to the discography of the composer, and especially that of the Fourth Symphony. While a number of fine recordings of this work exist, the execution of the score in this particular performance offer perspectives which demonstrate the perennial appeal of this work. Without displacing the other fine recording of the Fourth Symphony which Sinopoli released, those who appreciate his intelligent and exciting art will not be disappointed in this extraordinary performance from the latter part of his career. Moreover, Sinopoli’s introduction to the work, the last band of the CD, affords the opportunity of hearing the late conductor talk about this music in person, and this is a welcome bonus on this outstanding recording.

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):