13 Aug 2011
Théodore Gouvy’s Iphigénie en Tauride
Gounod you know, but how about Gouvy?
Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
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The Feast at Solhaug : Henrik Ibsen's play Gildet paa Solhaug (1856) inspired Wilhelm Stenhammer's opera Gillet på Solhaug. The world premiere recording is now available via Sterling CD, in a 3 disc set which includes full libretto and background history.
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Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
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Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.
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On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
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Honours yet again to Oehms Classics who understand the importance of excellence. A composer as good, and as individual, as Walter Braunfels deserves nothing less.
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For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
Gounod you know, but how about Gouvy?
According to the booklet essay in this CPO set of Théodore Gouvy’s Iphigénie en Tauride, the composer enjoyed wide respect in his lifetime (1819-1898), and this oratorio was his most successful work. Hearing it both explains the extent of his reputation during his life and why even Gouvy’s most successful work slipped into utter obscurity.
Herbert Schneider’s essay (translated by Nicholas Smith) also stipulates that Gouvy reviled Wagner and decried what was for Gouvy modern music’s “distancing” from “the ensembles, the finales, and melodic treatment of the voices.” Gouvy shows himself to be a master of choral writing in his score for this Iphigénie, with no fewer than 16 of this set’s 26 tracks listing “Choeur” participation. The Kantorie Saarlouis performs these sections beautifully, although they are not able to distinguish between the “Greeks,” “Furies” and “Scythians” the libretto depicts, for Gouvy’s great failing comes in characterization and drama. A blood-thirsty crowd calling for human sacrifice doesn’t sound all that more urgent than another group mourning in exile. Most of these passages are in minor keys, with simple but effective orchestral gestures. But that element of risk found in great art never appears in Gouvy’s work. Each section of the text is neatly compartmentalized, a tidiness that begins to feel routine very quickly. The very elegance and formal rigor that earned him such praise in his time fails him in ours, as his music only superficially captures the essence of the dark and blood-thirsty story of Iphigénie, who is forced to lead sacrifices and very nearly kills her own brother.
In the more dramatic exchanges between Iphigénie and Thoas, who compels her to perform the sacrifices, Gouvy does dare to have his Iphigénie shout out in distress, but those rare outbursts only heighten the disparity between most of the music’s professional sheen and the swirling passions of the text. Not helping matters is the unsteady vocalism of the Iphigénie, Christine Maschler. The body of the voice has a sour character, and she lunges precariously at high notes. Her male counterparts are more successful, with Benjamin Hulett in the tenor role of Orest’s friend Pylades showing a lot of promise, his voice sweet and yet powerful. Vinzenz Haab sings a stalwart Orest and Ekkehard Abele provides the expected bass aura of villainy very well as Thoas.
Conductor Joachim Fontaine and Le Grand Société Philharmonique deliver an enthusiastic reading, presenting ably the best of Gouvy’s music - some tasty orchestration, and a facility for pleasant, though not memorable, thematic material. For those who enjoy exploring rare repertoire, this CPO set will be a fine diversion. With a different soprano, this recording might even have earned Gouvy a new bunch of admirers, especially among those who agree that with Wagner, music lost that feel for “melodic treatment of the voices.” As the conclusion drags on and on, however, many more will be glad to have given Gouvy a chance, but feel that the judgment of music history was just and apt.