Paul Dukas’ Ariane et Barbe-Bleue, first heard in 1907, once seemed important. Arturo Toscanini conducted the Met premiere in 1911 with Farrar and later arranged some of its music for a 1947 recording with his NBC Symphony.
The economics of the recording companies dictate much that is not ideal. Wagner’s operas were not composed as they were in order to permit the extraction of bleeding chunks, even on those occasions when strophic song forms do occur.
Among the recent recordings of Mahler’s Eighth Symphony, Valery Gergiev’s release on the LSO Live label is an excellent addition to the discography of this work.
While not unknown, the songs of Alexander von Zemlinsky (1871-1942) deserve to be heard more frequently.
Recorded on 5 and 6 May 2008 and 17 and 18 January 2009 at the Lisztzentrum (Raiding, Austria), this recent Bridge release makes available the piano-vocal versions of three song cycles by Gustav Mahler, Lieder eines fahrenden Gesellen, Rückert-Lieder, and Kindertotenlieder performed by mezzo-soprano Hermine Haselböck, accompanied by Russell Ryan.
Contraltos rarely achieve the acclaim and renown of sopranos. Assigned few leading roles in opera, they are condemned to playing the villain or the grandmother, or to stealing the castrati’s trousers in en travesti roles.
Following their 2011 Decca recording of Striggio’s Mass in 40 Parts (1566), I Fagiolini continue their quest to unearth lost treasures of the High Renaissance and early Baroque, with this collection of world-premiere recordings, ‘reconstructions’ and ‘reconstitutions’ of music by Giovanni and Andrea Gabrieli, Monteverdi, Palestrina, and their less well-known compatriots Viadana, Barbarino and Soriano.
Eternal Echoes is an album of khazones [Jewish cantorial music] for cantorial soloist, solo violin and a blended instrumental ensemble comprising a small orchestra and the Klezmer Conservatory Band.
Michael Tilson Thomas’s recording of Mahler’s Third Symphony is an outstanding contribution to the composer’s discography.
Oliver Knussen burst into British music with an unprecedented flourish. In 1967, the London Symphony Orchestra premiered Knussen’s First Symphony, with István Kertész scheduled to conduct.
Based on performances given in Summer 2010 at the Lucerne Festival, this recording of Beethoven’s Fidelio is an admirable recording that captures the vitality of the work as conducted by Claudio Abbado.
Stanisław Moniuszko (1819-1872) was one of the most popular composers of his day in Poland, and of the many works he wrote for the stage, two are performed from time to time, Halka (1848) and Strazny dwór [The Haunted Manor] (1865).
The Polish alto Jadwiga Rappé is a familiar voice in various stage and concert works, and the recent release of a selection of songs by Stanisław Moniuszko (1819-1872) is an opportunity to hear her performing artsongs.
Originally released on multiple discs in 1981 this reissue on two CDs is a comprehensive collection of art songs by Italian and French composers from the nineteenth and early twentieth centuries.
An exciting contribution to the discography of this popular opera, the live performance of Richard Strauss’s Salome from the Festspielhaus at Baden-Baden is a compelling DVD.
Released in late 2011, Deutsche Grammophon’s DVD of the new staging of Berg’s Lulu at the Gran Teatro del Liceu, Barcelona is an excellent contribution to the discography of this fascinating opera.
A recent release by the Metropolitan Opera, this two-disc set makes available on DVD the famous performance of Berg’s Lulu that was broadcast on 20 December 1980 as part of the PBS series “Live from the Met.”
The novels of Sinclair Lewis once shot across the American literary skies like comets, alarming and fascinating readers of that era, but their tails didn’t extend far behind them.
Once the province of only the most dedicated opera fanatics, mid-20th century recordings of privately taped live performances have become more widely available.
Flute players in opera orchestra around the world must look forward to the frequent appearances of Donizetti’s Lucia di Lammermoor, knowing that while the stage spotlight in the mad scene will be on the soprano, the orchestral spotlight will be on their instrument.
A recent release by the Metropolitan Opera, this two-disc set makes available on DVD the famous performance of Berg’s Lulu that was broadcast on 20 December 1980 as part of the PBS series “Live from the Met.”
Based on the production that received its Met premiere in 1977, this video makes available John Dexter’s classic presentation of Berg’s opera that James Levine conductor over three decades ago. The Met’s production was a major event because the three-act version of Berg’s score was still new, with houses vying to program it. Even though the opera received a number of fine productions since then, this production of the Met’s Lulu remains a strong and insightful performance, which Levine led masterfully.
Dexter’s staging offers a conventional approach to this unconventional opera, with wonderfully detailed interiors that give a sense of realism to this extraordinary score. While various obvious places in the video do not disclose the fact that this is a filmed opera rather than an opera conceived as a film, the direction gives a sense of intimacy which allows the viewers to observe the work from a closer perspective than if they were in the audience. It is a credit to the sensitivity of the production staff involved with the film that they were able to convey the interactions well, as in the finale scene of Act 2. Yet the film also gives a sense of this specific production with its closeups of Levine conducting from the pit, especially in the orchestral numbers that are part of Berg’s score.
One element unique to this production is the setting of the film music ingeniously. With its use of stills which resemble Manga, the section has a timeless quality which fits well into the live action used for the rest of the film. The sepia-tone images and art-deco are entirely appropriate to the production, with a good sense of cinematic continuity.
The cast was outstanding in its days and their efforts remain laudable. Julia Migenes, perhaps known best for her depiction of Carmen in the film of the opera, is a solid, convincing Lulu. In this role Migenes combines her strong acting abilities with her command of the role. Her coquettish behavior in the first act gives way to an increasingly manipulative persona, which Migenes also expresses well vocally. The penultimate scene in the third act gives a fine sense of how Migenes handles this complex role.
As Countess Geschwitz, Evelyn Lear gives a classic performance which merits attention for the details she brings to its performance. Lear’s Geschwitz is appealing for the dimensions it offers, as both a foil for some aspects of Lulu and as an individual with a compelling presence. Lear offers a Geschwitz with consummate style, which fits well into the production, especially in her impassioned final scene. Likewise, Kenneth Riegel’s Alwa is memorable for the musical and dramatic depth it offers. Riegel’s supple voice works well in this production, where his voice is neither lost in the full orchestral sound nor harsh in the more dramatic passages of the role.
The casting is evenly strong, with both the solo passages and ensembles well executed. The opening scene of the third act offers a brilliant rendering of the cocktail party depicted in the libretto, with the solo voices intersecting the ensemble and orchestra with appropriate style. Frank Mazura gives a strong performance in the dual role of Dr. Schön and Jack the Ripper, as does Andrew Foldi as Schigolch. These and the entire cast work well under Levine’s leadership, which shaped this performance from start to finish.
It is difficult to fault this classic performance of Lulu, except for some aspects that are out of the control of the Met. The color was fine for television in 1980, but it seems faded, even in this well-produced DVD. The sound is rendered well, but suffers at times from the necessary placement of microphones for the broadcast. While not a major obstacle, such details serve as reminders that this is a television broadcast, not a studio recording of the opera. Thus, the subtitles are entirely in English, as would occur in a broadcast. Yet it would be useful to have the original German text as an option for the subtitles.
With several productions of Lulu available on DVD, this one is a solid choice. Dramatically and musically compelling, this performance has much to recommend. The sensuality implicit in the score is not overtly depicted, and so the parental warnings that occur with other releases of this opera are absent from this video. More than that, this performance has historic significance for being part of the production that introduced the Met’s audiences to Berg’s famous opera.
Jim Zychowicz