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

Cold Mountain, Philadelphia

Opera Philadelphia deserves congratulations on yet another coup. The company co-commissioned Cold Mountain, an opera by Jennifer Higdon based on Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War epic.

Christian Gerhaher Wolfgang Rihm Wigmore Hall

For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme - popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.

Götterdämmerung in Palermo

There are not many opera productions that you would cross oceans to see. Graham Vick’s Götterdämmerung in Sicily however compelled such a voyage.

Emmanuel Chabrier L’Étoile — Royal Opera House London

Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.

Robert Ashley’s Quicksand at the Kitchen

Robert Ashley’s opera-novel Quicksand makes for a novel experience

Premiere of Raskatov’s Green Mass

One of the leading Russian composers of his generation, Alexander Raskatov’s reputation in the UK and western Europe derives from several, recent large-scale compositions, such as his reconstruction of Alfred Schnittke’s Ninth Symphony from a barely legible manuscript (the work was first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic under Dennis Russell Davies), and his 2010 opera A Dog’s Heart, based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney at English National Opera in 2010, following the opera’s premiere at Netherlands Opera earlier that year).

Orpheus in the Underworld, Opera Danube

I’m not sure that St John’s Smith Square was the most appropriate venue for Opera Danube’s latest production: Jacques Offenbach’s satirical frolic, Orpheus in the Underworld.

Lady Macbeth of Mtsensk in Lyon

This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .

Bel Canto: A World Premiere at Lyric Opera of Chicago

During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.

Tosca, Royal Opera

Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.

Lianna Haroutounian resplendent in Madama Butterfly at the Concertgebouw

The title role is a deciding factor in Madama Butterfly. Despite a last-minute conductor cancellation, last Saturday’s concert performance at the Concertgebouw was a resounding success, thanks to Lianna Haroutounian’s opulent, heart-stealing Cio-Cio-San.

Classical Opera: MOZART 250 — 1766: A Retrospective

With this performance of vocal and instrumental works composed by the 10-year-old Mozart and his contemporaries during 1766, Classical Opera entered the second year of their 27-year project, MOZART 250, which is designed to ‘contextualise the development and influences of [sic] the composer’s artistic personality’ and, more audaciously, to ‘follow the path that subsequently led to some of the greatest cornerstones of our civilisation’.

Benjamin Appl — Schubert, Wigmore Hall London

Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.

Ferrier Awards Winners’ Recital

The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.

Pelléas et Mélisande at the Barbican

When, o when, will someone put Peter Sellars and his compendium of clichés out of our misery?

Samuel Barber: Choral Music

This recording, made in the Adrian Boult Hall at the Birmingham Conservatoire of Music in June 2014, is the fourth disc in SOMM’s series of recordings with Paul Spicer and the Birmingham Conservatoire Chamber Choir.

L'Arpeggiata: La dama d’Aragó, Wigmore Hall

Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.

Tippett : A Child of Our Time, London

Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.

Taverner and Tavener, Fretwork, London

‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.

Fall of the House of Usher in San Francisco

It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.

OPERA TODAY ARCHIVES »

Reviews

Bedrich Smetana: The Bartered Bride
11 Oct 2009

Czech Opera Treasures on Supraphon

A note on the inside back cover of the booklets for these two releases announces that they are part of a new Supraphon series dedicated to “archive recordings of complete operas not yet available on CD.”

Bedrich Smetana: The Bartered Bride

Milada Musilová; Ivo Žídek; Karel Kalaš; Oldrich Kovár. Chorus and Orchestra of the National Theatre in Prague/Jaroslav Vogel. Recorded at Domovina Studio and at the Rudolfinum, Prague, March 24, 28 & 29, 1952

Supraphon MD 3980 [2CDs]

$24.98  Click to buy

The set of The Bartered Bride comes from 1952; The Cunning Little Vixen was recorded in 1957. Many releases from those years offer fine sound, and in some cases (think the Mercury Living presence series), quite excellent audio — warm and yet detailed.

So the first thing to be said about these two sets must be that the recording quality ranges from poor (the Smetana) to just acceptable (the Janáček). The constricted mono sound of the 1952 Bride recording gives the impression of a microphone set up not in the same room as the musicians and singers, but possibly just around the corner. Aural claustrophobia sets in early and never really leaves, despite the thoroughly idiomatic performance. The Prague National Theater orchestra and chorus perform under the baton of Jaroslav Vogel, all sounding spirited enough to really make it all the more unfortunate that they can’t be heard better. The singers tend to be a little more up front in the mix, and though none come across as major talents, they all inhabit their roles naturally. Fans of this opera, which never seems to have caught on very well outside its home region, may want this set for its historic value. Others would probably do best to find the opera in German on EMI, with a first-rate chorus and clean, clear sound.

333_3981.jpgThe sound quality of the Vixen dismays the ears initially, but this is a case where one soon adjusts and settles into the mood of the performance, putting side the qualified audio experience. That excellent conductor Václav Neumann leads the same ensemble as in the Smetana, and here their virtuosity and knowledge of the idiom shine through. Rudolf Asmus sings a masculine, wise Forester, and Hana Böhmová employs a boyish soprano to vivid effect as the Vixen.

In the slim-line cases of these lower-price editions, Supraphon provides a booklet with the usual credits and then a combination track listing and synopsis, in Czech and English. More information on the artists would be appreciated, though the lack of the usual essay retreading Wikipedia-style data on the composer and the opera prompts few regrets. The better-recorded Mackerras set of Janáček’s masterpiece remains essential, but this Supraphon edition deserves a listen as well.

Chris Mullins

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):