For years, hardcore opera buffs have praised the name of Elisabeth Grümmer. While she isn't, in reality, all that unknown, I think she is entirely underrated.
Elisabeth Grümmer (neé Schilz) was born on 31. March 1911 at Niederjeutz in Alsace-Lorraine. Because her family was German, in 1918 they were evicted from Lorraine and moved to the theatre town of Meiningen. She attended a drama school there and studied classical theatre and acting. Her stage debut was as Klärchen in Goethe's Egmont. She started a relatively successful stage and film career, but after her marriage to Detlev Grümmer, all of her artistic goals seemingly came to an end. Detlev Grümmer was a violinist and concert-master at the Landestheater Meiningen. When Detlev was engaged at the Stadttheater Aachen, they moved to Aachen and everything changed.
At the time, the music directer in Aachen was the young, Herbert von Karajan. Through his encouragement, she began studying voice and in 1941, he cast her in what was her operatic debut as the First Flower Maiden in Wagner's Parsifal. She became engaged from 1942 - 1944 in Duisburg. It is no secret that the second world war took a huge toll on the German people, and her situation is no exception. Her husband, unfortunately, was killed in an air raid. He died in their basement holding his violin to his chest. His death was a major blow to Elisabeth, she went on to say that he was her only love, and she was never remarried. After that, she dedicated much more of herself to her career. She became a regular at the Städtische Oper in West Berlin, and remained a regular until the end of her career. She went on to sing at all the great opera houses from Covent Garden and the Met to La Scala and Teatro Colón in Buenos Aires. Between 1957 and 1961 she became a regular at the Bayreuther Festspiele finding a real niche for herself in the lyric Wagner roles.
Like many singers of her generation, she confined her repertoire to a very select few roles that she made very much her own. Namely roles like Pamina (Zauberföte), Fiordiligi (Così fan tutte), Contessa Almaviva (Nozze di Figaro), Donna Anna (Don Giovanni), Agathe (Freischütz), Marschallin (Rosenkavalier), Countess Madeleine (Capriccio), Desdemona (Otello) and the Wagnerian roles of Elsa (Lohengrin), Eva (Meistersinger), Elisabeth (Tannhäuser), Freia (Das Rheingold) and Gutrune (Götterdämmerung).
Grümmer had a voice of exceptional beauty and freshness. Her elegant approach and elevated artistry lent itself well to sophisticated, noble roles. While nuanced and regal sounding, her voice had a brilliant shimmer, and a youthful quality that remained well into the later part of her career. Her performances, even on disc, are something to treasure. She had such an inward expression of musicality and text, it felt to many as though she was completely unaware of an audience. She really let those lucky enough to see her live into her own personal musical world. There was never a feeling of any sort of artifice at all in her voice, and through her utter simplicity of tone, she managed to achieve the utmost profundity, and warm-hearted sincerity. There isn't one performance I have heard where I couldn't hear her "bearing her soul" through the music. She was capable of finding the balance between "singer" and "actor" that is so rarely achieved in the opera world and virtually never achieved in the world of musical theatre.
She was equally respected on the concert platform, where her Frauenliebe und -leben was praised especially, probably due to the trust she had in Chamisso's texts, which most, quite frankly do not, and her "Ihr habt nun traurigkeit" in Brahm's Ein deutsches Requiem, is praised as among the best examples of the aria ever recorded.
Unfortunately she was not recorded nearly as much as her contemporary colleagues, such as Elisabeth Schwarzkopf, Lisa della Casa, Irmgard Seefried, etc. But the recordings that we do have show her off to her best possible advantage.
She passed away on 6. November 1986 in Germany. I hope you find the charm and glamour of these recordings that give us all a glance at what the opera world looked like in a more civilized age.
Friday, March 14, 2014
Monday, March 3, 2014
RECORDING OF THE MONTH- March 2014: DIE MEISTERSINGER VON NÜRNBERG by WAGNER
So, it has been a while. Nigh unto a year. Life happens.
What has inspired me to awake from hibernation is one of my favourite operas of all time. It is met by most with misunderstanding and ridicule, for it is just about the longest lasting piece in the entire operatic repertoire lasting around four and a half hours (right up there with goliath works like Siegfried, Götterdämmerung, and the full five act version of Don Carlos). The opera is Richard Wagner's Die Meistersinger von Nürnberg.
Meistersinger was originally conceived as a comic appendage to Wagner's earlier work, Tannhäuser, just as Greek tragedies were often followed by a satyr play. Wagner's first prose draft (for the libretto is his own) was written in Marienbad in July of 1845. As historical background information, Wagner used Gottfried Gervinus's Geschichte der poetischen National-Literatur der Deutschen of 1835-42. It is assumed that he used also other relevant volumes in his Dresden library such as Über den altdeutschen Meistergesang by Jacob Grimm, Friedrich Furchau's life of Sachs, and most likely the J. G. Büsching's edition of Hans Sachs's plays. More prose drafts were written up, probably around the time of November 1861, for the Schott publishing company. At this point, Wagner found J. C. Wagenseil's Nürnberg Chronical of 1697, which proved to be a rich source of information relating to the ancient crafts and guilds of Nürnberg. By late January 1862 the poem of Meistersinger was finished and he began composition by March or April. The work was not completed until October 1867.
The premiere, which was immensely successful, was given at the Königliches hof- und National- Theater in München and conducted by Hans von Bülow, a mutual friend of Wagner's and Liszt's, who was married to Lizt's daughter Cosima. Two years earlier Cosima had bore Wagner's child and eventually left von Bülow for Wagner. But even after such a personal offense, von Bülow continued to be a champion of Wagner's music, conducting it regularly.
The work went on to be performed in medium sized houses like Dessau, Karlsruhe, Dresden, Mannheim, and Weimar. It was seen in the Berlin and Vienna Court Operas in 1870, in England in 1882, the Metropolitan in 1886, and Bayreuth in 1888.
Die Meistersinger von Nürnberg is about the free imperial city of Nürnberg in the 16th century and the Master Singer guild. While on the surface it seems like a simple, 2-dimensional comedy, the work, while different from most of Wagner's output, is incredibly profound. It deals with the role of music in society, Schopenhauer philosophies of art, music and dreams, and the folly of mankind and the human condition.
One must mention some of the negative criticism that Die Meistersinger von Nürnberg continues to get. Like all of Wagner's music, the Third Reich tarnished its reputation. It is true that some of the music from Die Meistersinger von Nürnberg was used often in Nazi propaganda. On that note, many scholars and would-be "intellectuals" claim that the character of Sixtus Beckmesser is an antisemitic statement by Wagner in the form of making the character a Jewish stereotype. This is not the case. Just like all of Wagner's antisemitic sentiments, you can always find it if you are looking hard enough for it. His music makes no statements about the Jewish people. Stop looking. Beckmesser is a caricature of the music critic Eduard Hanslik. Hanslik was Jewish, however that is NOT why Wagner disliked him. Wagner disliked Hanslik because he was the biggest opponent of Wagner's music at the time. His reviews were almost entirely negative and Wagner's ego didn't deal with that very well. Beckmesser is more a criticism on academic pedantism in general than a Jewish stereotype. Scholars like Dieter Borchmeyer point out similarities to the figure of Malvolio in Sakespear's Twelfth Night.
This opera is the most human of all of Wagner's works. It is a glorious affirmation of humanity and the value of art. It is a parable about tempering the inspiration of genius with the rules of form.
I love this piece. It has all the grandeur and sensual chromaticism of Wagner, but the score is filled with hope and energy and JOY!
The recording that I am reviewing is not necessarily what I would call the BEST recording… but I sure do like it.
The 1956 Bayreuther Festspiel production conducted by André Cuytens.
Hans Sachs - Hans Hotter
Veit Pogner - Josef Greindl
Kunz Vogelgesang - Josef Traxel
Konrad Nachtigall - Egmont Koch
Sixtus Beckmesser - Karl Schmitt-Walter
Fritz Kothner - Dietrich Fischer-Dieskau
Balthasar Zorn - Heinz-Günther Zimmermann
Ulrich Eißlinger - Erich Bänke
Augustin Moser - Josef Janko
Hermann Ortel - Hans Hibietinek
Hans Schwarz - Alexander Fenyves
Hans Foltz - Eugen Fuchs
Walther von Stolzing - Wolfgang Windgassen
Eva - Gré Brouwenstijn
Magdalene - Georgine von Milinkovic
David - Gerhard Stolze
Ein Nachtwächter - Alfons Herwig
Chor und Orchester der Bayreuther Festspiele
It is nearly impossible, when thinking about this performance, not to start the review by acknowledging the absolute luxury casting of a young Dietrich Fischer-Dieskau in the second string role of Fritz Kothner. In this case, to say Kothner nearly steals the show, in no way implies a bad performance. As Kothner he calls the roll with a dignity and poetic colouring that reminds one that Wagner wrote this libretto as one big poetic prose. He brings to life the role of Fritz Kothner as the fastidious keeper of the seal that he is, and his recital of the Tabalatur is done with his usual wit and nuance. With his subtle turns of phrase he perfectly evokes all the singing styles Wagner was using, and therein subtly parodying. It does remind us, however, that he never sang the role in this opera that seems as though could have been written for him personally, Sixtus Beckmesser. I have dreams at night about the erudite, elitist portrayal that this artist could have given to the role of Beckmesser, the pedantic, bitter, town clerk and score keeper of the Master Singers.
It is forgivable, however, that he was not singing Beckmesser in this 1956 production because of their casting of the great Karl Schmitt-Walter in the role. Schmitt-Walter is the link here to the past generation of singers. He sang this role many, many times in Bayreuth and elsewhere in Germany and Austria, and while there are other documentations of his performances that may be better (particularly vocally), he uses his intelligence and dramatic intention to the fullest to give this character an adequately comic, yet understated persona, which is a nice change from the usual caricature that was customary at that time. His high lyric baritone, with his expertly deployed laser beam tone and, at times, almost Schoenbergian 'Sprechstimme', allows him the flexibility and freedom to colour this fascinating role in a reading that stands up with the likes of Erich Kunz, Hermann Prey, Thomas Hemsley, and more recently Thomas Allen.
David is a surprise casting of Gerhard Stolze, known for his portrayal of Mime in Siegfried. He sings the role of David with a pleasantly surprising youthful exuberance and we get a chance to see that this actor and his metallic vocal colour can be used with discretion and beauty. Milinkovic's Magdalena is pleasantly sung and acted throughout, but without much individuality or spark.
Josef Greindl sang Pogner regularly, and his understanding of the character shows. His singing lacks a bit of stability at times, but he delivers where it counts. His decree in act one (Das schöne Fest) really is done with an impression of authority and gravitas, and his relationship with Eva is very real and heartwarming.
Gré Brouwenstijn tends to divide people's opinions. Her voice lacks the "shimmer" one might want in Eva. She doesn't sing the role with the beauty of the always exquisite Elisabeth Grümmer, or the elegance of young Schwarzkopf, but she is an intelligent singer and while she has some trouble in act three (particularly in the quintet), her characterization makes up for it. Her Eva is innocent and gentle, with a hint of pep at times, and in her more sincere moments, verges on ethereal. All in all, I think she is great. Not Grümmer or Janowitz, but a commendable performance.
Wolfgang Windgassen is equally questioned by many reviewers. I am a fan of Windgassen. He didn't sing the role of Walther very often, probably because (as we hear at times in this performance) the role sits a bit high in his voice (for it is a terribly high role for most Heldentenöre). But overall his voice sounds full and fresh and he sings Walther with a lyrical skill and elegance one doesn't get to hear as much of in his Tristan or his Tannhäuser. While he does have moments where he seems to struggle with Walther's demanding tessitura, he still sings it better than the majority of performances one hears. He has the delicate balance of knight and poet weighed perfectly. In his first act aria, "Am stillen Herd", he plays with the text in a way that makes one believe that, yes, he may just be making these songs up on the spot.
No question, the true hero of this production is Hans Hotter's Sachs. Just about the largest role in the entirety of the operatic repertoire, he sang the role relatively frequently, but is only on a small number of recordings. Why he was not on Kempe's studio recording of this opera, I will never know, but of the few documentations we have, this is certainly his best. One could not ask for a better Sachs. He sings it with a warmth and stability, all the while taking huge risks that absolutely pay off. His Sachs is truly human. It is among the most intimate renderings of the role I have ever heard. His Act II monologue is beautifully introspective and his "Wahn, wahn!" aria of Act III is a picture of an infinitely wise and sensitive observer of human folly. He covers the gamut in this behemoth role from warm and fatherly, to almost sensual, and he does it with a sharp intellect and a personal quality that touches anyone who listens with adequately open ears. While there have been some excellent Sachs interpreters, i.e. Stewart, Edelmann, Schöffler, Adam, etc., there is no other Hans Sachs that I would call quintessential. Hotter's deep understanding of the text puts him on a level that is absolutely unrivaled. His final monologue is the perfect example of this.
This recording is, no doubt, about the singers and actors. Even the big Meistersinger guild meeting scene in act one, is done in a perfectly uncouth manner that reminds us, these are everyday tradesmen, that participate in the art of song in their free time. The conductor however, adds very little musically.
André Cuytens, a Belgian conductor, specializing in French music, methinks should stick to French music. He did, actually, conduct quite frequently at Bayreuth, and his reading of this score is fine. He gives the singers space and support, when they need it in their special moments, and I suppose he moves the music along in a broad "German" manner. But his performance is unmemorable. Except maybe those moments that suffer from severe lapses in ensemble - namely the end of Act II. With that said, he doesn't have the romanticism of Böhm, the beauty of Karajan, the grandeur of Kubelik… but he doesn't distract from the performance either. He gives what is ultimately a respectable recording.
Looking back on this recording, I ask myself, could it be that the success of this opera about song (which is to say the intimate marriage of text and music) is that so many of the singers here (Hotter, Schmitt-Walter, D. F.-D.) are specialists in song? Is it possible that their inherent understanding of song and text gives them an upper hand in an opera that is all about that very musical phenomenon? Something to think about…
This disc has pretty questionable sound. Live mono from '56, it is riddled with white noise, cracks, odd tape breaks, and even some occasional pitch-waver. But that doesn't bother me particularly, I am used to listening through these things. Some people may not be able to look past it as easily.
It probably shouldn't be your first or only recording of Die Meistersinger von Nürnberg. For that I may recommend the 1970 Karajan set on EMI. Not my favourite, but it is excellent sound and a solid performance from beginning to end. If you can find it, I would absolutely recommend the 1967 Kubelik recording on Calig with Thomas Stewart, Franz Crass, Thomas Hemsley, the highly underrated Sándor Kónya, Brigitte Fassbaender, and the exceptional Gundula Janowitz, or even the 1956 Rudolf Kempe set with Frantz, Frick, Schock, Grümmer, and a very young Hermann Prey as einen Nachtwächter.
But if you are a fan of this work or a collector, this is an essential recording. It is worth it just to hear Fischer-Dieskau and Hans Hotter in these roles.
-Christopher Michael Kelley
What has inspired me to awake from hibernation is one of my favourite operas of all time. It is met by most with misunderstanding and ridicule, for it is just about the longest lasting piece in the entire operatic repertoire lasting around four and a half hours (right up there with goliath works like Siegfried, Götterdämmerung, and the full five act version of Don Carlos). The opera is Richard Wagner's Die Meistersinger von Nürnberg.
Meistersinger was originally conceived as a comic appendage to Wagner's earlier work, Tannhäuser, just as Greek tragedies were often followed by a satyr play. Wagner's first prose draft (for the libretto is his own) was written in Marienbad in July of 1845. As historical background information, Wagner used Gottfried Gervinus's Geschichte der poetischen National-Literatur der Deutschen of 1835-42. It is assumed that he used also other relevant volumes in his Dresden library such as Über den altdeutschen Meistergesang by Jacob Grimm, Friedrich Furchau's life of Sachs, and most likely the J. G. Büsching's edition of Hans Sachs's plays. More prose drafts were written up, probably around the time of November 1861, for the Schott publishing company. At this point, Wagner found J. C. Wagenseil's Nürnberg Chronical of 1697, which proved to be a rich source of information relating to the ancient crafts and guilds of Nürnberg. By late January 1862 the poem of Meistersinger was finished and he began composition by March or April. The work was not completed until October 1867.
The premiere, which was immensely successful, was given at the Königliches hof- und National- Theater in München and conducted by Hans von Bülow, a mutual friend of Wagner's and Liszt's, who was married to Lizt's daughter Cosima. Two years earlier Cosima had bore Wagner's child and eventually left von Bülow for Wagner. But even after such a personal offense, von Bülow continued to be a champion of Wagner's music, conducting it regularly.
The work went on to be performed in medium sized houses like Dessau, Karlsruhe, Dresden, Mannheim, and Weimar. It was seen in the Berlin and Vienna Court Operas in 1870, in England in 1882, the Metropolitan in 1886, and Bayreuth in 1888.
Die Meistersinger von Nürnberg is about the free imperial city of Nürnberg in the 16th century and the Master Singer guild. While on the surface it seems like a simple, 2-dimensional comedy, the work, while different from most of Wagner's output, is incredibly profound. It deals with the role of music in society, Schopenhauer philosophies of art, music and dreams, and the folly of mankind and the human condition.
One must mention some of the negative criticism that Die Meistersinger von Nürnberg continues to get. Like all of Wagner's music, the Third Reich tarnished its reputation. It is true that some of the music from Die Meistersinger von Nürnberg was used often in Nazi propaganda. On that note, many scholars and would-be "intellectuals" claim that the character of Sixtus Beckmesser is an antisemitic statement by Wagner in the form of making the character a Jewish stereotype. This is not the case. Just like all of Wagner's antisemitic sentiments, you can always find it if you are looking hard enough for it. His music makes no statements about the Jewish people. Stop looking. Beckmesser is a caricature of the music critic Eduard Hanslik. Hanslik was Jewish, however that is NOT why Wagner disliked him. Wagner disliked Hanslik because he was the biggest opponent of Wagner's music at the time. His reviews were almost entirely negative and Wagner's ego didn't deal with that very well. Beckmesser is more a criticism on academic pedantism in general than a Jewish stereotype. Scholars like Dieter Borchmeyer point out similarities to the figure of Malvolio in Sakespear's Twelfth Night.
This opera is the most human of all of Wagner's works. It is a glorious affirmation of humanity and the value of art. It is a parable about tempering the inspiration of genius with the rules of form.
I love this piece. It has all the grandeur and sensual chromaticism of Wagner, but the score is filled with hope and energy and JOY!
The recording that I am reviewing is not necessarily what I would call the BEST recording… but I sure do like it.
The 1956 Bayreuther Festspiel production conducted by André Cuytens.
Hans Sachs - Hans Hotter
Veit Pogner - Josef Greindl
Kunz Vogelgesang - Josef Traxel
Konrad Nachtigall - Egmont Koch
Sixtus Beckmesser - Karl Schmitt-Walter
Fritz Kothner - Dietrich Fischer-Dieskau
Balthasar Zorn - Heinz-Günther Zimmermann
Ulrich Eißlinger - Erich Bänke
Augustin Moser - Josef Janko
Hermann Ortel - Hans Hibietinek
Hans Schwarz - Alexander Fenyves
Hans Foltz - Eugen Fuchs
Walther von Stolzing - Wolfgang Windgassen
Eva - Gré Brouwenstijn
Magdalene - Georgine von Milinkovic
David - Gerhard Stolze
Ein Nachtwächter - Alfons Herwig
Chor und Orchester der Bayreuther Festspiele
It is nearly impossible, when thinking about this performance, not to start the review by acknowledging the absolute luxury casting of a young Dietrich Fischer-Dieskau in the second string role of Fritz Kothner. In this case, to say Kothner nearly steals the show, in no way implies a bad performance. As Kothner he calls the roll with a dignity and poetic colouring that reminds one that Wagner wrote this libretto as one big poetic prose. He brings to life the role of Fritz Kothner as the fastidious keeper of the seal that he is, and his recital of the Tabalatur is done with his usual wit and nuance. With his subtle turns of phrase he perfectly evokes all the singing styles Wagner was using, and therein subtly parodying. It does remind us, however, that he never sang the role in this opera that seems as though could have been written for him personally, Sixtus Beckmesser. I have dreams at night about the erudite, elitist portrayal that this artist could have given to the role of Beckmesser, the pedantic, bitter, town clerk and score keeper of the Master Singers.
It is forgivable, however, that he was not singing Beckmesser in this 1956 production because of their casting of the great Karl Schmitt-Walter in the role. Schmitt-Walter is the link here to the past generation of singers. He sang this role many, many times in Bayreuth and elsewhere in Germany and Austria, and while there are other documentations of his performances that may be better (particularly vocally), he uses his intelligence and dramatic intention to the fullest to give this character an adequately comic, yet understated persona, which is a nice change from the usual caricature that was customary at that time. His high lyric baritone, with his expertly deployed laser beam tone and, at times, almost Schoenbergian 'Sprechstimme', allows him the flexibility and freedom to colour this fascinating role in a reading that stands up with the likes of Erich Kunz, Hermann Prey, Thomas Hemsley, and more recently Thomas Allen.
David is a surprise casting of Gerhard Stolze, known for his portrayal of Mime in Siegfried. He sings the role of David with a pleasantly surprising youthful exuberance and we get a chance to see that this actor and his metallic vocal colour can be used with discretion and beauty. Milinkovic's Magdalena is pleasantly sung and acted throughout, but without much individuality or spark.
Josef Greindl sang Pogner regularly, and his understanding of the character shows. His singing lacks a bit of stability at times, but he delivers where it counts. His decree in act one (Das schöne Fest) really is done with an impression of authority and gravitas, and his relationship with Eva is very real and heartwarming.
Gré Brouwenstijn tends to divide people's opinions. Her voice lacks the "shimmer" one might want in Eva. She doesn't sing the role with the beauty of the always exquisite Elisabeth Grümmer, or the elegance of young Schwarzkopf, but she is an intelligent singer and while she has some trouble in act three (particularly in the quintet), her characterization makes up for it. Her Eva is innocent and gentle, with a hint of pep at times, and in her more sincere moments, verges on ethereal. All in all, I think she is great. Not Grümmer or Janowitz, but a commendable performance.
Wolfgang Windgassen is equally questioned by many reviewers. I am a fan of Windgassen. He didn't sing the role of Walther very often, probably because (as we hear at times in this performance) the role sits a bit high in his voice (for it is a terribly high role for most Heldentenöre). But overall his voice sounds full and fresh and he sings Walther with a lyrical skill and elegance one doesn't get to hear as much of in his Tristan or his Tannhäuser. While he does have moments where he seems to struggle with Walther's demanding tessitura, he still sings it better than the majority of performances one hears. He has the delicate balance of knight and poet weighed perfectly. In his first act aria, "Am stillen Herd", he plays with the text in a way that makes one believe that, yes, he may just be making these songs up on the spot.
No question, the true hero of this production is Hans Hotter's Sachs. Just about the largest role in the entirety of the operatic repertoire, he sang the role relatively frequently, but is only on a small number of recordings. Why he was not on Kempe's studio recording of this opera, I will never know, but of the few documentations we have, this is certainly his best. One could not ask for a better Sachs. He sings it with a warmth and stability, all the while taking huge risks that absolutely pay off. His Sachs is truly human. It is among the most intimate renderings of the role I have ever heard. His Act II monologue is beautifully introspective and his "Wahn, wahn!" aria of Act III is a picture of an infinitely wise and sensitive observer of human folly. He covers the gamut in this behemoth role from warm and fatherly, to almost sensual, and he does it with a sharp intellect and a personal quality that touches anyone who listens with adequately open ears. While there have been some excellent Sachs interpreters, i.e. Stewart, Edelmann, Schöffler, Adam, etc., there is no other Hans Sachs that I would call quintessential. Hotter's deep understanding of the text puts him on a level that is absolutely unrivaled. His final monologue is the perfect example of this.
This recording is, no doubt, about the singers and actors. Even the big Meistersinger guild meeting scene in act one, is done in a perfectly uncouth manner that reminds us, these are everyday tradesmen, that participate in the art of song in their free time. The conductor however, adds very little musically.
André Cuytens, a Belgian conductor, specializing in French music, methinks should stick to French music. He did, actually, conduct quite frequently at Bayreuth, and his reading of this score is fine. He gives the singers space and support, when they need it in their special moments, and I suppose he moves the music along in a broad "German" manner. But his performance is unmemorable. Except maybe those moments that suffer from severe lapses in ensemble - namely the end of Act II. With that said, he doesn't have the romanticism of Böhm, the beauty of Karajan, the grandeur of Kubelik… but he doesn't distract from the performance either. He gives what is ultimately a respectable recording.
Looking back on this recording, I ask myself, could it be that the success of this opera about song (which is to say the intimate marriage of text and music) is that so many of the singers here (Hotter, Schmitt-Walter, D. F.-D.) are specialists in song? Is it possible that their inherent understanding of song and text gives them an upper hand in an opera that is all about that very musical phenomenon? Something to think about…
This disc has pretty questionable sound. Live mono from '56, it is riddled with white noise, cracks, odd tape breaks, and even some occasional pitch-waver. But that doesn't bother me particularly, I am used to listening through these things. Some people may not be able to look past it as easily.
It probably shouldn't be your first or only recording of Die Meistersinger von Nürnberg. For that I may recommend the 1970 Karajan set on EMI. Not my favourite, but it is excellent sound and a solid performance from beginning to end. If you can find it, I would absolutely recommend the 1967 Kubelik recording on Calig with Thomas Stewart, Franz Crass, Thomas Hemsley, the highly underrated Sándor Kónya, Brigitte Fassbaender, and the exceptional Gundula Janowitz, or even the 1956 Rudolf Kempe set with Frantz, Frick, Schock, Grümmer, and a very young Hermann Prey as einen Nachtwächter.
But if you are a fan of this work or a collector, this is an essential recording. It is worth it just to hear Fischer-Dieskau and Hans Hotter in these roles.
-Christopher Michael Kelley
Wednesday, May 1, 2013
RECORDING OF THE MONTH- May 2013: DIE FLEDERMAUS by STRAUß II
Something that often gets overlooked by musical connoisseurs and afficionados is the genre of Operetta. Operetta, while many claim it began with Offenbach in Paris, and many in the U.S. and the United Kingdom first think of Gilbert and Sullivan... to me, Operetta IS Vienna. Operetta is Johann Strauß II and Franz Lehár and Emmerich Kálmán and Carl Zeller etc. Viennese Operetta has always held a very special place in my heart just as Vienna does and for that matter, Austria. Particularly when the Summer months roll around and I find myself lost in thoughts and memories of my time spent in Austria, I become intoxicated with the elegant lilt of the Waltzes, Ländlers, and Polkas of Viennese Operetta.
What Schubert did for the Lied, what Handel did for Oratorio, what Mozart did for Opera, Johann Strauß II did for Operetta. He brought the genre to life and shaped the way all others would compose in the genre henceforth. He did that with one pivotal work: Die Fledermaus.
The quality of Die Fledermaus is such that it is often referred to as an opera and held up against the German operas of Weber, Lortzing, and Nicolai. Its music is challenging and energetic, the drama is clean and witty and there isn't a misplaced note in this elegantly frivolous, sparkling score. Even so, the flavor of this piece in undeniably operetta.
While it was not entirely well received at its premier at Theater an der Wien in 1874, famous music critic Eduard Hanslick having called it "commonplace," it has become among the most popular of all musical theatre pieces and remains firmly in the repertoire even outside of Vienna.
There are few recordings that I truly respect out there of this work. It must always maintain its heritage. The Viennese style must always be in the forefront, not only in the conducting and orchestral playing, but in the singing and acting style as well.
I love the recording from 1950 conducted by Clemens Krauss with Julius Patzak, Hilde Güden, Alfred Poell, Anton Dermota, Wilma Lipp, Sieglinde Wagner et al. This recording is possibly in many ways the most stylistically accurate as every person involved in this recording is Austrian and most of them Viennese at that, but to most modern ears tends to sound dated.
Another great recording, and among my personal favourites, is the film version conducted by Karl Böhm and directed by Otto Schenk, starring Gundula Janowitz, Renate Holm, Erich Kunz and Eberhard Wächter.
In fact any recording with the young Eberhard Wächter as Eisenstein is golden, as he was the benchmark Eisenstein at the Staatsoper and the Volksoper in the years before he became the general manager of BOTH houses (Volksoper in 1987 and Staatsoper in 1991).
The 1975 recording is sung and conducted phenomenally (if a bit quick for my taste) by Carlos Kleiber with Hermann Prey as Eisenstein, Julia Varady as Rosalinde, Lucia Popp as Adele, Bernd Weikl as Falke. Aside from a very disturbing Orlofsky singing in his relatively undeveloped falsetto the whole time, it is quite good. Lucia Popp and Julia Varady are incredibly charming and Hermann Prey is as close to perfectly sung as it gets.
The document that I think best represents this work however, is the 1971 EMI recording conducted by Willi Boskovsky.
Gabriel von Eisenstein - Nicolai Gedda
Rosalinde - Anneliese Rothenberger
Adele - Renate Holm
Dr. Falke - Dietrich Fischer-Dieskau
Prinz Orlofsky - Brigitte Fassbaender
Alfred - Adolf Dallapozza
Frank - Walter Berry
Ida - Senta Wengraf
Frosch - Otto Schenk
Dr. Blind - Jürgen Förster
Iwan - Gerd W. Dieberitz
Chor der Wiener Staatsoper
Wiener Symphoniker
Dialogue directed by Otto Schenk
While I personally prefer Gabriel von Eisenstein to be sung by a baritone, if one MUST deal with a tenor, Nicolai Gedda is ideal. While the role is not particularly challenging for him vocally, he sings the role with stylish buffoonery and flows through the dialogue with a humorous finesse that displays Gedda's true adeptness with language. The man was fluent in seven of them after all.
Anneliese Rothenberger is a slightly lighter voiced soprano than is often cast as Rosalinde, however it is not hindering for her in the slightest, in fact due to the lighter voice, the highs which are often strident and even screechy at times, maintain a beauty and ease that is quite frankly a relief to the ears and only helps her portray the astute, savvy character of Rosalinde. Operetta was a major part of Rothenberger's career and her style here is perfect.
The relatively unknown Rente Holm was a major player in the Operetta scene in Vienna. She was in many operetta films such as Schön ist die Welt, Der Graf von Luxemburg, Der Vogelhändler, and the film version of Die Fledermaus. She brings an Austrian flare to this saucy Stubenmädchen with a clean, silvery tone. She is truly at home in this role that she practically owned during her time in Vienna.
Dietrich Fischer-Dieskau is not the first name that comes to mind when thinking about operetta, but as Dr. Falke, he brings the usual erudite nuance and subtlety that he brought to everything he ever sang. His dialogue is smart and charming and when you have a singer of Fischer-Dieskau's calibre, it is a great joy to have the addition in act II of the rarely heard Strauß aria "Die ganze Nacht durchschwärmt," from his unknown Operetta, Waldmeister about the revelry of young men. His second act II solo, "Brüderlein" is sung with a grace and beauty that has most certainly never been heard on the piece before or since, but definitely challenged by Olaf Bär's wonderful reading of the role on the set with Dame Kiri and Andre Previn.
The Viennese Walter Berry brings his Wiener Gemütlichkeit to Prison Director Frank. Finding the perfect balance in this difficult comic role between singing and a sort of Buffo Sprechstimme. His scene in the opening of act III in strong Viennese dialect with the famous actor and director Otto Schenk as Frosch is entirely amusing and maintains a bit of subtlety in its comedy which is more than we can say for most productions in the US of this work.
Fassbaender as Orlofsky is wonderful as Fassbaender always is. Her Russian accent is spot on and her aria is sung with a great eccentricity and whimsy. Dallapozza is very funny as Alfred, inserting Wagner arias throughout. Alfred to my thinking, is probably the most amusing role in the opera when done right, and Adolf Dallapozza does it right, even if he could give it a bit more ridiculousness at times. Otto Schenk's directing of the dialogue is a great representation of how it should always sound with great distinction and nuance, even though the dialogue is greatly cut, it is better than the unacceptable readings that cut ALL the dialogue from the recording. This is a Viennese take on this work that rarely hits the mark outside of it native Vienna.
The real reason that this recording beats out all the others is the conductor. Willi Boskovsky is among the greatest Strauß conductors of all time. Having joined the Vienna Academy of Music at the age of 9 for the violin, he became concert master for the Wiener Philharmoniker from 1936 to 1979, and from 1955 he became the long standing conductor of the Vienna New Year's Concert. He was, until his death in 1991, the chief conductor of the Wiener Johann Strauß Orchester, conducting in the Straußian style of the "Vorgeiger," which is directing the orchestra in front while playing the violin just as Strauß I and Strauß II did. His adroit conducting of this piece is exactly as it should be, from his credentials alone, one can tell that Willi has an ingrained flair for the Strauß idiom. He maintains a sophistication throughout, while never losing the moderate dance-like tempi. Never too fast. Never too slow. It conjures up the feeling of grand balls of the Viennese upper crust, stumbling about to waltzes and drowning themselves in champagne. It has moments of farcical comedy, and moments of true beauty - if still lacking any true depth in the most delightful way possible. This recording truly has a personality of its own, and even with the tasteful interpretation of the singers, it possesses an energy that is nearly unrivaled.
This is an unpretentious, yet amazingly stylish reading of this great work. If one is interested in learning about how Viennese Operetta should be done, this is the disc to start with. Perfection.
- Christopher Michael Kelley
What Schubert did for the Lied, what Handel did for Oratorio, what Mozart did for Opera, Johann Strauß II did for Operetta. He brought the genre to life and shaped the way all others would compose in the genre henceforth. He did that with one pivotal work: Die Fledermaus.
The quality of Die Fledermaus is such that it is often referred to as an opera and held up against the German operas of Weber, Lortzing, and Nicolai. Its music is challenging and energetic, the drama is clean and witty and there isn't a misplaced note in this elegantly frivolous, sparkling score. Even so, the flavor of this piece in undeniably operetta.
While it was not entirely well received at its premier at Theater an der Wien in 1874, famous music critic Eduard Hanslick having called it "commonplace," it has become among the most popular of all musical theatre pieces and remains firmly in the repertoire even outside of Vienna.
There are few recordings that I truly respect out there of this work. It must always maintain its heritage. The Viennese style must always be in the forefront, not only in the conducting and orchestral playing, but in the singing and acting style as well.
I love the recording from 1950 conducted by Clemens Krauss with Julius Patzak, Hilde Güden, Alfred Poell, Anton Dermota, Wilma Lipp, Sieglinde Wagner et al. This recording is possibly in many ways the most stylistically accurate as every person involved in this recording is Austrian and most of them Viennese at that, but to most modern ears tends to sound dated.
Another great recording, and among my personal favourites, is the film version conducted by Karl Böhm and directed by Otto Schenk, starring Gundula Janowitz, Renate Holm, Erich Kunz and Eberhard Wächter.
In fact any recording with the young Eberhard Wächter as Eisenstein is golden, as he was the benchmark Eisenstein at the Staatsoper and the Volksoper in the years before he became the general manager of BOTH houses (Volksoper in 1987 and Staatsoper in 1991).
The 1975 recording is sung and conducted phenomenally (if a bit quick for my taste) by Carlos Kleiber with Hermann Prey as Eisenstein, Julia Varady as Rosalinde, Lucia Popp as Adele, Bernd Weikl as Falke. Aside from a very disturbing Orlofsky singing in his relatively undeveloped falsetto the whole time, it is quite good. Lucia Popp and Julia Varady are incredibly charming and Hermann Prey is as close to perfectly sung as it gets.
The document that I think best represents this work however, is the 1971 EMI recording conducted by Willi Boskovsky.
Gabriel von Eisenstein - Nicolai Gedda
Rosalinde - Anneliese Rothenberger
Adele - Renate Holm
Dr. Falke - Dietrich Fischer-Dieskau
Prinz Orlofsky - Brigitte Fassbaender
Alfred - Adolf Dallapozza
Frank - Walter Berry
Ida - Senta Wengraf
Frosch - Otto Schenk
Dr. Blind - Jürgen Förster
Iwan - Gerd W. Dieberitz
Chor der Wiener Staatsoper
Wiener Symphoniker
Dialogue directed by Otto Schenk
While I personally prefer Gabriel von Eisenstein to be sung by a baritone, if one MUST deal with a tenor, Nicolai Gedda is ideal. While the role is not particularly challenging for him vocally, he sings the role with stylish buffoonery and flows through the dialogue with a humorous finesse that displays Gedda's true adeptness with language. The man was fluent in seven of them after all.
Anneliese Rothenberger is a slightly lighter voiced soprano than is often cast as Rosalinde, however it is not hindering for her in the slightest, in fact due to the lighter voice, the highs which are often strident and even screechy at times, maintain a beauty and ease that is quite frankly a relief to the ears and only helps her portray the astute, savvy character of Rosalinde. Operetta was a major part of Rothenberger's career and her style here is perfect.
The relatively unknown Rente Holm was a major player in the Operetta scene in Vienna. She was in many operetta films such as Schön ist die Welt, Der Graf von Luxemburg, Der Vogelhändler, and the film version of Die Fledermaus. She brings an Austrian flare to this saucy Stubenmädchen with a clean, silvery tone. She is truly at home in this role that she practically owned during her time in Vienna.
Dietrich Fischer-Dieskau is not the first name that comes to mind when thinking about operetta, but as Dr. Falke, he brings the usual erudite nuance and subtlety that he brought to everything he ever sang. His dialogue is smart and charming and when you have a singer of Fischer-Dieskau's calibre, it is a great joy to have the addition in act II of the rarely heard Strauß aria "Die ganze Nacht durchschwärmt," from his unknown Operetta, Waldmeister about the revelry of young men. His second act II solo, "Brüderlein" is sung with a grace and beauty that has most certainly never been heard on the piece before or since, but definitely challenged by Olaf Bär's wonderful reading of the role on the set with Dame Kiri and Andre Previn.
The Viennese Walter Berry brings his Wiener Gemütlichkeit to Prison Director Frank. Finding the perfect balance in this difficult comic role between singing and a sort of Buffo Sprechstimme. His scene in the opening of act III in strong Viennese dialect with the famous actor and director Otto Schenk as Frosch is entirely amusing and maintains a bit of subtlety in its comedy which is more than we can say for most productions in the US of this work.
Fassbaender as Orlofsky is wonderful as Fassbaender always is. Her Russian accent is spot on and her aria is sung with a great eccentricity and whimsy. Dallapozza is very funny as Alfred, inserting Wagner arias throughout. Alfred to my thinking, is probably the most amusing role in the opera when done right, and Adolf Dallapozza does it right, even if he could give it a bit more ridiculousness at times. Otto Schenk's directing of the dialogue is a great representation of how it should always sound with great distinction and nuance, even though the dialogue is greatly cut, it is better than the unacceptable readings that cut ALL the dialogue from the recording. This is a Viennese take on this work that rarely hits the mark outside of it native Vienna.
The real reason that this recording beats out all the others is the conductor. Willi Boskovsky is among the greatest Strauß conductors of all time. Having joined the Vienna Academy of Music at the age of 9 for the violin, he became concert master for the Wiener Philharmoniker from 1936 to 1979, and from 1955 he became the long standing conductor of the Vienna New Year's Concert. He was, until his death in 1991, the chief conductor of the Wiener Johann Strauß Orchester, conducting in the Straußian style of the "Vorgeiger," which is directing the orchestra in front while playing the violin just as Strauß I and Strauß II did. His adroit conducting of this piece is exactly as it should be, from his credentials alone, one can tell that Willi has an ingrained flair for the Strauß idiom. He maintains a sophistication throughout, while never losing the moderate dance-like tempi. Never too fast. Never too slow. It conjures up the feeling of grand balls of the Viennese upper crust, stumbling about to waltzes and drowning themselves in champagne. It has moments of farcical comedy, and moments of true beauty - if still lacking any true depth in the most delightful way possible. This recording truly has a personality of its own, and even with the tasteful interpretation of the singers, it possesses an energy that is nearly unrivaled.
This is an unpretentious, yet amazingly stylish reading of this great work. If one is interested in learning about how Viennese Operetta should be done, this is the disc to start with. Perfection.
- Christopher Michael Kelley
Wednesday, November 28, 2012
20 Under Appreciated Singers of the Past - 4 (Set Svanholm)
It has been quite a while since my last blog. I apologize for my extended period of blogging apathy, but sometimes it takes a cause to start the fire that inspires us to get back on the horse!
As of late I have had a new… well maybe not such a new cause.
When one sets their ears upon the Wagnerian recordings of the 40s, 50s, and even 60s, they cannot help but marvel at the richness and beauty and the warmth of this lush art. The singers voices during the golden days of Bayreuth would soar and glide through dense orchestrations that seemed to blend together into one gentle sound that brings the audience into the world of the drama. However, since the 1980s, for even the most Wagnerian among us, most recordings of his music seem forced and pushed and the voices like slabs of steel smacking down on an over sized and under sophisticated orchestra.
Why has Wagnerian singing fallen so rapidly by the way side??? Some claim that it is because 'Italianate singing' has taken over the pedagogic landscape these days… but I disagree. Listen to Gigli, De Luca, Rosa Ponselle, Claudia Muzio… Hell, even the young Giuseppe di Stefano! If you know these singers, you know that there is NO Italianate singing going on right now in the world's vocal studios.
What is going on in the studio's of the world right now is science. Plain and simple. Science is the new vocal technique. It isn't that there isn't a place for this, there is. However between the homogenous recording industry and the new trend to discuss art as if it were calculous, we have lost any kind of individual style or identity in our singing. Along with this we have become uncomfortable with what we don't understand. Singers play it safe, and in truth, singing is still an enigma to some extent that cannot be explained, even though we THINK we can. Wagnerian singing has become taboo. People are afraid of it, and that's why there isn't a man alive today that can sing a Tristan that anybody would actually want to listen to.
But I digress. On 4 September 1904 Set Svanholm was born in Västerås, Sweden. At 17 years of age he started his musical career as a precentor, elementary school teacher, and and organist. He then went to the Royal University of Music in Stockholm and at this time began studying with none other than John Forsell. The Swedish baritone that taught Jussi Björling.
Svanholm made his debut as a baritone in 1930 singing the role of Silvio in Pagliacci. He has always had an easy upper register and started retraining himself on his own. Historian Dr. Marie-Louise Rodén claims that he called up his old voice teacher, John Forsell, and told him that he had a promising new tenor that he should hear, and surprised him by showing up himself. Then in February of 1936 he re-debuted as a tenor singing the solo in Beethoven's 9th Symphony, and operatically a few months later in a little role called Radames in Verdi's Aida. The following year at the ripe age of 33 he found his niche and debuted his first two Wagnerian tenor roles: Lohengrin and Siegfried. He Sang regularly at the Wiener Staatsoper from 1938-1942, at the Met from 1946-1956, and at he Royal Opera House in London from 1948-1957.
In 1956 he became the director at the Royal Swedish Opera and was until 1963.
In the memoirs of Kirsten Flagstad she remarks: "For me, there was only one Siegmund . . . that was Set."
His voice was deep, baritonal, and metallic, and it always maintained an inherent lyrical quality. He was an intelligent and sophisticated musician with an athletic physique, and he always adhered scrupulously to the score. These were all things that were appreciated by audiences after years of listening to his predecessor, Lauritz Melchior, who was nearing the end of his career. His interpretations could not be described that way…
He was a great example of healthy, yet pleasant sounding, stylistically appropriate Wagnerian singing. Hopefully the tide will turn and this is something that we will all hear again one day.
As of late I have had a new… well maybe not such a new cause.
When one sets their ears upon the Wagnerian recordings of the 40s, 50s, and even 60s, they cannot help but marvel at the richness and beauty and the warmth of this lush art. The singers voices during the golden days of Bayreuth would soar and glide through dense orchestrations that seemed to blend together into one gentle sound that brings the audience into the world of the drama. However, since the 1980s, for even the most Wagnerian among us, most recordings of his music seem forced and pushed and the voices like slabs of steel smacking down on an over sized and under sophisticated orchestra.
Why has Wagnerian singing fallen so rapidly by the way side??? Some claim that it is because 'Italianate singing' has taken over the pedagogic landscape these days… but I disagree. Listen to Gigli, De Luca, Rosa Ponselle, Claudia Muzio… Hell, even the young Giuseppe di Stefano! If you know these singers, you know that there is NO Italianate singing going on right now in the world's vocal studios.
What is going on in the studio's of the world right now is science. Plain and simple. Science is the new vocal technique. It isn't that there isn't a place for this, there is. However between the homogenous recording industry and the new trend to discuss art as if it were calculous, we have lost any kind of individual style or identity in our singing. Along with this we have become uncomfortable with what we don't understand. Singers play it safe, and in truth, singing is still an enigma to some extent that cannot be explained, even though we THINK we can. Wagnerian singing has become taboo. People are afraid of it, and that's why there isn't a man alive today that can sing a Tristan that anybody would actually want to listen to.
But I digress. On 4 September 1904 Set Svanholm was born in Västerås, Sweden. At 17 years of age he started his musical career as a precentor, elementary school teacher, and and organist. He then went to the Royal University of Music in Stockholm and at this time began studying with none other than John Forsell. The Swedish baritone that taught Jussi Björling.
Svanholm made his debut as a baritone in 1930 singing the role of Silvio in Pagliacci. He has always had an easy upper register and started retraining himself on his own. Historian Dr. Marie-Louise Rodén claims that he called up his old voice teacher, John Forsell, and told him that he had a promising new tenor that he should hear, and surprised him by showing up himself. Then in February of 1936 he re-debuted as a tenor singing the solo in Beethoven's 9th Symphony, and operatically a few months later in a little role called Radames in Verdi's Aida. The following year at the ripe age of 33 he found his niche and debuted his first two Wagnerian tenor roles: Lohengrin and Siegfried. He Sang regularly at the Wiener Staatsoper from 1938-1942, at the Met from 1946-1956, and at he Royal Opera House in London from 1948-1957.
In 1956 he became the director at the Royal Swedish Opera and was until 1963.
In the memoirs of Kirsten Flagstad she remarks: "For me, there was only one Siegmund . . . that was Set."
His voice was deep, baritonal, and metallic, and it always maintained an inherent lyrical quality. He was an intelligent and sophisticated musician with an athletic physique, and he always adhered scrupulously to the score. These were all things that were appreciated by audiences after years of listening to his predecessor, Lauritz Melchior, who was nearing the end of his career. His interpretations could not be described that way…
He was a great example of healthy, yet pleasant sounding, stylistically appropriate Wagnerian singing. Hopefully the tide will turn and this is something that we will all hear again one day.
Tuesday, June 5, 2012
20 Under Appreciated Singers of the Past - 3 (Gerhard Hüsch)
Gerhard Heinrich Wilhelm Fritz Hüsch, or as he was more commonly known - Gerhard Hüsch, was born on 2 February 1901 in Hannover, Germany. He started his education studying acting and then later took up singing. He quickly proved to be among the finest comic actors in the German opera system and in 1925 began singing regularly in Berlin. Soon after he spread his reach throughout Germany and Austria. By the 1930s he was singing at The Royal Opera House, Covent Garden and La Scala in Milan as well.
He was perhaps best known in the opera world for his portrayal of Papageno in Mozart's Die Zauberflöte. in 1937 he recorded the role in its entirety with Sir Thomas Beecham and the Berlin Philharmonic. He sang other roles often as well, including Wolfram von Eschenbach in Wagner's Tannhäuser, which he sang in 1930 and 1931 at the Bayreuther Festspiel.
He didn't have the large, dramatic voice of his contemporaries like Rudolf Bockelmann, Heinrich Schlusnus or Herbert Janssen, but he made up for it with an unfailing legato, a beautifully rounded tone and impeccable, lucid diction.
Among all this opera, his professional focus alway really remained the Lied. Between the world wars, he recorded a huge amount of Lieder; primarily Schubert and Beethoven, but also Wolf and Pfitzner (many with Hans Pfitzner accompanying him at the piano).
Another notable benchmark of his career is his debut of many songs by the obscure Finnish composer Yrjö Kilpinen.
I have always admired Hüsch for his voice as well as his dedication to the Lied even before it was "cool"
I am certain you will too.
He was perhaps best known in the opera world for his portrayal of Papageno in Mozart's Die Zauberflöte. in 1937 he recorded the role in its entirety with Sir Thomas Beecham and the Berlin Philharmonic. He sang other roles often as well, including Wolfram von Eschenbach in Wagner's Tannhäuser, which he sang in 1930 and 1931 at the Bayreuther Festspiel.
He didn't have the large, dramatic voice of his contemporaries like Rudolf Bockelmann, Heinrich Schlusnus or Herbert Janssen, but he made up for it with an unfailing legato, a beautifully rounded tone and impeccable, lucid diction.
Among all this opera, his professional focus alway really remained the Lied. Between the world wars, he recorded a huge amount of Lieder; primarily Schubert and Beethoven, but also Wolf and Pfitzner (many with Hans Pfitzner accompanying him at the piano).
Another notable benchmark of his career is his debut of many songs by the obscure Finnish composer Yrjö Kilpinen.
I have always admired Hüsch for his voice as well as his dedication to the Lied even before it was "cool"
I am certain you will too.
Wednesday, May 23, 2012
20 Under Appreciated Singers of the Past - 2 (Lisa della Casa)
For many, many years, the world has known Lisa Della Casa for one thing and one thing alone: Richard Strauss's Arabella. Unfortunately most of the world doesn't even know her for that. There is truly one real reason why the musical world of today doesn't know her, Elisabeth Schwarzkopf.
By politely naming Della Casa as the greatest Arabella, it allows Schwarzkopf to reign supreme in all the other Strauss roles that are "more important." Don't get me wrong, I love Elisabeth Schwarzkopf. Any one who has read this blog would know that, but I adore Della Casa. It is a shame that she had to be such a close contemporary and fach to THE Schwarzkopf. She deserved better.
The Swiss soprano started her performing career in small swiss films and plays which her father, a doctor, put on in his spare time. He had a passion for the theatre. She sang with the Zürich Municipal Opera House from 1943 to 1950, where she sang a wide range of roles from die Königin der Nacht in Die Zauberflöte to Dorabella in Così Fan Tutte. When she sang Zdenka in Arabella at the Salzburger Festspiele in 1947 with Maria Reining and Hans Hotter, Strauss himself said, "Die kleine Della Casa wird eines Tages Arabella sein!" or "The little Della Casa will one day be Arabella!"
Like all the great German/Austrian/Swiss singers of the day, her specialty was Strauss and Mozart and occasionally the lighter Wagner heroines. Her Strauss was phenomenal. She was the greatest Arabella the world will ever know, her Countess in Capriccio easily matches Schwarzkopf's, her Ariadne is beautiful, she sang a mean Chrysotemis in Elektra, and she has been recorded singing all three leading roles in Der Rosenkavalier. Marschallin being the most wonderful, but Octavian and Sophie are both admirably sung as well.
Her Contessa di Almaviva is legendary, her Donna Elvira is perfection, and her Pamina is practically without equal.
I also recommend her Elsa in Lohengrin and her Eva in Die Meistersinger.
She sang all these roles with such impeccable style and finesse. She was always the picture, physically and vocally, of beauty and elegance. She was at one point dubbed the most beautiful woman on the operatic stage. She reminds us of that long lost time when the Opera world was elegant, tasteful and sophisticated onstage and off.
She turned 93 last February and is still kicking, living in a castle on Lake Constance in Switzerland (Schloß Gottelieben am Bodensee).
These are some wonderful examples of her Mozart and Strauss. I can't think of a better small representation of her wonderful voice, personality and presence in the world of opera.
For those of you who speak German, check out this great (short) documentary about her life that aired on German TV when she turned 90. Be prepared… some of this interview is in Swiss German…
I hope you all have a new favourite singer after this short introduction. She personifies elegance and her silvery voice rings in my ears whenever I think about the good ol' days of opera.
- Christopher Michael Kelley
By politely naming Della Casa as the greatest Arabella, it allows Schwarzkopf to reign supreme in all the other Strauss roles that are "more important." Don't get me wrong, I love Elisabeth Schwarzkopf. Any one who has read this blog would know that, but I adore Della Casa. It is a shame that she had to be such a close contemporary and fach to THE Schwarzkopf. She deserved better.
The Swiss soprano started her performing career in small swiss films and plays which her father, a doctor, put on in his spare time. He had a passion for the theatre. She sang with the Zürich Municipal Opera House from 1943 to 1950, where she sang a wide range of roles from die Königin der Nacht in Die Zauberflöte to Dorabella in Così Fan Tutte. When she sang Zdenka in Arabella at the Salzburger Festspiele in 1947 with Maria Reining and Hans Hotter, Strauss himself said, "Die kleine Della Casa wird eines Tages Arabella sein!" or "The little Della Casa will one day be Arabella!"
Like all the great German/Austrian/Swiss singers of the day, her specialty was Strauss and Mozart and occasionally the lighter Wagner heroines. Her Strauss was phenomenal. She was the greatest Arabella the world will ever know, her Countess in Capriccio easily matches Schwarzkopf's, her Ariadne is beautiful, she sang a mean Chrysotemis in Elektra, and she has been recorded singing all three leading roles in Der Rosenkavalier. Marschallin being the most wonderful, but Octavian and Sophie are both admirably sung as well.
Her Contessa di Almaviva is legendary, her Donna Elvira is perfection, and her Pamina is practically without equal.
I also recommend her Elsa in Lohengrin and her Eva in Die Meistersinger.
She sang all these roles with such impeccable style and finesse. She was always the picture, physically and vocally, of beauty and elegance. She was at one point dubbed the most beautiful woman on the operatic stage. She reminds us of that long lost time when the Opera world was elegant, tasteful and sophisticated onstage and off.
She turned 93 last February and is still kicking, living in a castle on Lake Constance in Switzerland (Schloß Gottelieben am Bodensee).
These are some wonderful examples of her Mozart and Strauss. I can't think of a better small representation of her wonderful voice, personality and presence in the world of opera.
For those of you who speak German, check out this great (short) documentary about her life that aired on German TV when she turned 90. Be prepared… some of this interview is in Swiss German…
I hope you all have a new favourite singer after this short introduction. She personifies elegance and her silvery voice rings in my ears whenever I think about the good ol' days of opera.
- Christopher Michael Kelley
Sunday, May 20, 2012
RECORDING OF THE MONTH- May 2012: FAUST by GOUNOD
It is high time for me to spice this blog up with a little French flair. As my life is full of French music at the moment, I could think of no better time than the present. I assumed I would review Les Contes d'Hoffmann by Offenbach, primarily because everyone in my daily interactions right now thinks so highly of the work that it is one of the most frequent topics of discussion, but honestly I am just not all that familiar with the work. I don't know it well enough to speak with ANY kind of authority on the subject. Something I plan on remedying in the not too distant future.
However a French opera I do know pretty well is Faust by Charles Gounod. Now, to start, I have to say that to literary gurus, this libretto dashes Goethe's Faust to pieces. It mutilates and perverts Johann Wolfgang von Goethe's original intent until it becomes a work unto itself with only a slight resemblance of the brilliant work that it comes from… BUT… it truly is a wonderful old school French opera. Nobody wrote melodies like Gounod and this score is riddled with them. I assumed from the get go that I would review the somewhat legendary 1959 EMI set conducted by André Cluytens with Nicolai Gedda, Victoria de los Angeles, Boris Christoff, Ernest Blanc, Rita Gorr etc. but as much of a benchmark as it is, it leaves me feeling somewhat ambivalent. So instead, I have chosen the 1994 Teldec recording conducted by Carlo Rizzi:
Faust - Jerry Hadley
Méphistofélès - Samuel Ramey
Marguerite - Cecilia Gasdia
Valentin - Alexandru Agache
Siébel - Susanne Mentzer
Marthe Schwerlein - Brigitte Fassbaender
and the Welsh National Opera Orchestra & Chorus
This truly is a great recording. I was skeptical at first. For some reason I had a hard time trusting the French style to an Italian conducting Welsh people… I was wrong. This performance, while not entirely traditional, is absolutely stylistically spot on.
First of all, one would assume that the only real reason to buy this recording would be for the Devil of Samuel Ramey. Truly one of the great roles of his career. He sings Méphistofélès here in prime voice. To young male singers (especially the lower voiced singers) Samuel Ramey has attained a near Godly reputation. All of us at some level consider him somewhat of a "God walking amongst mere mortals"… or perhaps a demon as the case may be… He sings this role with excellent French. He manipulates and deceives throughout the opera with hints of the subtlety of Journet and Plançon, and balances that with some of that Chaliapin slavic school of snarl that is so pervasive in Boris Christoff's interpretation of this role... every role he sang actually. It works for Ramfis (Aida) and Boris, and here to some extent, but not so much in roles like Padre Guardiano (Forza) or Silva (Ernani). And neither of them have the suave subtlety of Cesare Siepi. But while Ramey does in fact do an excellent and noteworthy job, much to my chagrin, he is not ultimatley the draw of the recording. Ramey is a wonderful sounding Méphistofélès but when push comes to shove, he is somewhat boring. The role has so much potential to "play" and he just doesn't take advantage of it. He is great on the disc but compared to some of his less respected colleagues on this set he doesn't quite deliver as expected.
The late Jerry Hadley really comes through with his idiomatic performance of the desperate and tortured Doctor Faust. He sings the opening scene with such beautiful melancholy that we almost forget what a slow start it gives the opera. The rest of the role is sung par excellence with a legato and musical continuity that one just does not hear in his Italian repertoire. He sings with such tenderness in moments like the love duet, and the climax of his aria, Salut, demeure chaste et pure, is sung with a true piano (as written by the composer). He makes this note, that most use to show off their powerful top C, a moment of introspection. He floats up to the C with a gentle ardency that stays much more in keeping with the line of the aria than most interpretations. His moments of passion are also much more committed than one would expect from such a lyric voice. Gedda, probably the most beloved Faust of his era, said himself that he didn't like the role of Faust. It is too one dimensional and not in keeping with Goethe's concept, so he never sang the role as much more than beautiful music. Jerry Hadley takes what he is given and brings it to life in a magical and honest way.
The relatively unknown Cecilia Gasdia of Verona delivers a performance as good or better than her wonderful aforementioned counterparts. Her voice is bright and glistening, and her characterization is impeccable. A young, vulnerable, spiritual girl with a blinding, innocent love for her "young" suitor, Faust. She does the Jewel Song in a way that seems genuinely delighted and fresh, as if we hadn't heard the aria 5,000 times. She almost succeeds even in the impossible task of giving life to Gounod's dull setting of Il Était Un Roi De Thulé. One of the highlights of the whole opera is the last scene when her pleading for salvation is so impassioned one is easily swept away in her desperation. She gives a detailed character with equal commitment to de los Angeles's famed performance, but with admittedly more depth. Gasdia, remarkably, is able to bring Marguerite to the forefront of the drama through her committed interpretation, even if Gounod chose not to.
The secondary characters are well cast too for the most part. Valentin is sung here by the Romanian baritone Alexandru Agache. His voice is not the most beautiful, but he sings an admirable soldier, even if it is often over-covered and occasionally a bit flat, but what he lacks in voice, he makes up for in truly great character interpretation. He is ardent and true and brings dimension to what is usually a bit of a cardboard stock character. This is best heard in his death scene, Ecoute-moi bien, Marguerite! Siébel is sung with light, silvery voice by Susanne Mentzer. She doesn't offer the role a whole lot in her approach, but she delivers an attractive and consistent performance. The novelty casting of THE Brigitte Fassbaender in the role of Marthe Schwerlein is a wonderful part of this recording, although it pales in comparison to the vanity casting of Rita Gorr in the Cluytens recording. However, since it isn't too much of a role to begin with, neither have much of an effect on the outcome of the set.
Lastly Carlo Rizzi really does deliver a wonderful reading. He takes quite a few unusual tempi, mostly incredibly slow (coming in at around 3:10, where the Cluytens comes in around 2:51). While I would not take most of these tempi so slow, I think it can definitely work. It is a grandiose and monumental opera and the slower tempi really emphasize that side of the work. The Welsh National Opera Chorus responds well to his baton, turning out some of the cleanest ensemble singing I have ever heard, and the orchestra rejoices and weeps along with the singers throughout the work. I really appreciate that, and while they did cut the ballet numbers, they still recorded them as an appendix.
Lastly, I would say that this recording really is a wonderful way to get to know this opera. The Cluytens is definitely more traditional, and the singing is some of the best you'll find on any recording of the opera. However for dimension, sensitivity, and passion I would recommend this recording above all the other usual options.
- Christopher Michael Kelley
PS. I actually would probably first and foremost recommend the live Met recording from the early 50s with Jussi Björling, Dorothy Kirsten, and Cesare Siepi, that is if you can handle some, er, not so perfect French diction… but that recording is nearly impossible to find these days. If you do find it… please let me know where. ;)
However a French opera I do know pretty well is Faust by Charles Gounod. Now, to start, I have to say that to literary gurus, this libretto dashes Goethe's Faust to pieces. It mutilates and perverts Johann Wolfgang von Goethe's original intent until it becomes a work unto itself with only a slight resemblance of the brilliant work that it comes from… BUT… it truly is a wonderful old school French opera. Nobody wrote melodies like Gounod and this score is riddled with them. I assumed from the get go that I would review the somewhat legendary 1959 EMI set conducted by André Cluytens with Nicolai Gedda, Victoria de los Angeles, Boris Christoff, Ernest Blanc, Rita Gorr etc. but as much of a benchmark as it is, it leaves me feeling somewhat ambivalent. So instead, I have chosen the 1994 Teldec recording conducted by Carlo Rizzi:
Faust - Jerry Hadley
Méphistofélès - Samuel Ramey
Marguerite - Cecilia Gasdia
Valentin - Alexandru Agache
Siébel - Susanne Mentzer
Marthe Schwerlein - Brigitte Fassbaender
and the Welsh National Opera Orchestra & Chorus
This truly is a great recording. I was skeptical at first. For some reason I had a hard time trusting the French style to an Italian conducting Welsh people… I was wrong. This performance, while not entirely traditional, is absolutely stylistically spot on.
First of all, one would assume that the only real reason to buy this recording would be for the Devil of Samuel Ramey. Truly one of the great roles of his career. He sings Méphistofélès here in prime voice. To young male singers (especially the lower voiced singers) Samuel Ramey has attained a near Godly reputation. All of us at some level consider him somewhat of a "God walking amongst mere mortals"… or perhaps a demon as the case may be… He sings this role with excellent French. He manipulates and deceives throughout the opera with hints of the subtlety of Journet and Plançon, and balances that with some of that Chaliapin slavic school of snarl that is so pervasive in Boris Christoff's interpretation of this role... every role he sang actually. It works for Ramfis (Aida) and Boris, and here to some extent, but not so much in roles like Padre Guardiano (Forza) or Silva (Ernani). And neither of them have the suave subtlety of Cesare Siepi. But while Ramey does in fact do an excellent and noteworthy job, much to my chagrin, he is not ultimatley the draw of the recording. Ramey is a wonderful sounding Méphistofélès but when push comes to shove, he is somewhat boring. The role has so much potential to "play" and he just doesn't take advantage of it. He is great on the disc but compared to some of his less respected colleagues on this set he doesn't quite deliver as expected.
The late Jerry Hadley really comes through with his idiomatic performance of the desperate and tortured Doctor Faust. He sings the opening scene with such beautiful melancholy that we almost forget what a slow start it gives the opera. The rest of the role is sung par excellence with a legato and musical continuity that one just does not hear in his Italian repertoire. He sings with such tenderness in moments like the love duet, and the climax of his aria, Salut, demeure chaste et pure, is sung with a true piano (as written by the composer). He makes this note, that most use to show off their powerful top C, a moment of introspection. He floats up to the C with a gentle ardency that stays much more in keeping with the line of the aria than most interpretations. His moments of passion are also much more committed than one would expect from such a lyric voice. Gedda, probably the most beloved Faust of his era, said himself that he didn't like the role of Faust. It is too one dimensional and not in keeping with Goethe's concept, so he never sang the role as much more than beautiful music. Jerry Hadley takes what he is given and brings it to life in a magical and honest way.
The relatively unknown Cecilia Gasdia of Verona delivers a performance as good or better than her wonderful aforementioned counterparts. Her voice is bright and glistening, and her characterization is impeccable. A young, vulnerable, spiritual girl with a blinding, innocent love for her "young" suitor, Faust. She does the Jewel Song in a way that seems genuinely delighted and fresh, as if we hadn't heard the aria 5,000 times. She almost succeeds even in the impossible task of giving life to Gounod's dull setting of Il Était Un Roi De Thulé. One of the highlights of the whole opera is the last scene when her pleading for salvation is so impassioned one is easily swept away in her desperation. She gives a detailed character with equal commitment to de los Angeles's famed performance, but with admittedly more depth. Gasdia, remarkably, is able to bring Marguerite to the forefront of the drama through her committed interpretation, even if Gounod chose not to.
The secondary characters are well cast too for the most part. Valentin is sung here by the Romanian baritone Alexandru Agache. His voice is not the most beautiful, but he sings an admirable soldier, even if it is often over-covered and occasionally a bit flat, but what he lacks in voice, he makes up for in truly great character interpretation. He is ardent and true and brings dimension to what is usually a bit of a cardboard stock character. This is best heard in his death scene, Ecoute-moi bien, Marguerite! Siébel is sung with light, silvery voice by Susanne Mentzer. She doesn't offer the role a whole lot in her approach, but she delivers an attractive and consistent performance. The novelty casting of THE Brigitte Fassbaender in the role of Marthe Schwerlein is a wonderful part of this recording, although it pales in comparison to the vanity casting of Rita Gorr in the Cluytens recording. However, since it isn't too much of a role to begin with, neither have much of an effect on the outcome of the set.
Lastly Carlo Rizzi really does deliver a wonderful reading. He takes quite a few unusual tempi, mostly incredibly slow (coming in at around 3:10, where the Cluytens comes in around 2:51). While I would not take most of these tempi so slow, I think it can definitely work. It is a grandiose and monumental opera and the slower tempi really emphasize that side of the work. The Welsh National Opera Chorus responds well to his baton, turning out some of the cleanest ensemble singing I have ever heard, and the orchestra rejoices and weeps along with the singers throughout the work. I really appreciate that, and while they did cut the ballet numbers, they still recorded them as an appendix.
Lastly, I would say that this recording really is a wonderful way to get to know this opera. The Cluytens is definitely more traditional, and the singing is some of the best you'll find on any recording of the opera. However for dimension, sensitivity, and passion I would recommend this recording above all the other usual options.
- Christopher Michael Kelley
PS. I actually would probably first and foremost recommend the live Met recording from the early 50s with Jussi Björling, Dorothy Kirsten, and Cesare Siepi, that is if you can handle some, er, not so perfect French diction… but that recording is nearly impossible to find these days. If you do find it… please let me know where. ;)
Friday, May 18, 2012
In Memorium - Dietrich Fischer-Dieskau (1925-2012)
This morning, Dietrich Fischer-Dieskau, described once as "the most influential singer of the 20th Century", passed away just ten days before his 87th birthday.
While many people did not care for the quality of his voice, that he himself once compared to the gentle hum of an oboe, it is undeniable that he left a legacy that is perhaps unmatched. He is the single most recorded singer in history and he has brought the art of Song to the masses single handedly.
What Pavarotti did for opera, Fischer-Dieskau did for song. He took what was for all intent and purpose a dying art form, and revived it through his phenomenal word colouring, his unmatched text understanding, and his impeccable style. He was an artist, a scholar, and a pioneer. He pioneered not only in the interpretation of song, but also in the way the classical music industry records music, all this while maintaining a standard of artistic integrity that few singers, nay musicians, have ever matched.
I am not going to discuss the synopsis of his life; that can be found on a number of websites, and will certainly be discussed in the coming days, but I will leave you all with one slightly more personal bit of information.
He is the single most influential singer in my life. As a teenager, my parents gave me a recording of Fischer-Dieskau singing Schubert's Die schöne Müllerin and it was this gift that spurred what would become a life long love affair with Song, more specifically Lieder, and in effect, the German language as a whole.
The gentleness of tone, the undiluted sensitivity, and the naturalness of his use of words that Fischer-Dieskau was capable of will continue to inspire me every day of my life. Luckily he will live on in his recordings, his writings and his paintings.
He will not be forgotten.
R.I.P.
While many people did not care for the quality of his voice, that he himself once compared to the gentle hum of an oboe, it is undeniable that he left a legacy that is perhaps unmatched. He is the single most recorded singer in history and he has brought the art of Song to the masses single handedly.
What Pavarotti did for opera, Fischer-Dieskau did for song. He took what was for all intent and purpose a dying art form, and revived it through his phenomenal word colouring, his unmatched text understanding, and his impeccable style. He was an artist, a scholar, and a pioneer. He pioneered not only in the interpretation of song, but also in the way the classical music industry records music, all this while maintaining a standard of artistic integrity that few singers, nay musicians, have ever matched.
I am not going to discuss the synopsis of his life; that can be found on a number of websites, and will certainly be discussed in the coming days, but I will leave you all with one slightly more personal bit of information.
He is the single most influential singer in my life. As a teenager, my parents gave me a recording of Fischer-Dieskau singing Schubert's Die schöne Müllerin and it was this gift that spurred what would become a life long love affair with Song, more specifically Lieder, and in effect, the German language as a whole.
The gentleness of tone, the undiluted sensitivity, and the naturalness of his use of words that Fischer-Dieskau was capable of will continue to inspire me every day of my life. Luckily he will live on in his recordings, his writings and his paintings.
He will not be forgotten.
R.I.P.
Tuesday, May 15, 2012
20 Under Appreciated Singers of the Past - 1 (Leo Slezak)
This is the first post in a series I am doing about some of the under appreciated singers of the past.
In our age of YAP Tracker and Twitter, Netrebko and De Niese, and Peter Sellars and Julie Taymor, I have noticed that some younger singers are all too unfamiliar with some of the great singers of the past that maybe didn't have the same output of recordings or weren't in the latest HD Met Broadcast. This series is just a source for some of my fellow young singers to discover some fantastic voices before they are lost in the depths of the archives of great opera houses forever.
The first of this series is tenor Leo Slezak (1873-1946)
Slezak had an interesting voice. He was a large man with a very present voice that was fully capable of singing dramatic passages, he also sang quite a lot of Wagner. While some people call him a Heldentenor, I disagree. I think he was a lyric tenor with an amazing capacity for dynamics and power. He sang Tristan and Siegfried for a short time but then decided to put them away as he was worried about the long term effects that the roles would have on his voice. He was extremely well known for his Otello, oddly enough. He was able to float some of the most beautiful pianissimo high notes of his time and his top register has as much (if not more) ease as Luciano Pavarotti's. Slezak had a voice with such a unique and individual colour and timbre that after one listen one can never truly forget it.
Whether you are hearing this familiar old singer one more time, or whether you are hearing this golden age master for the first time, enjoy!
In our age of YAP Tracker and Twitter, Netrebko and De Niese, and Peter Sellars and Julie Taymor, I have noticed that some younger singers are all too unfamiliar with some of the great singers of the past that maybe didn't have the same output of recordings or weren't in the latest HD Met Broadcast. This series is just a source for some of my fellow young singers to discover some fantastic voices before they are lost in the depths of the archives of great opera houses forever.
The first of this series is tenor Leo Slezak (1873-1946)
Slezak had an interesting voice. He was a large man with a very present voice that was fully capable of singing dramatic passages, he also sang quite a lot of Wagner. While some people call him a Heldentenor, I disagree. I think he was a lyric tenor with an amazing capacity for dynamics and power. He sang Tristan and Siegfried for a short time but then decided to put them away as he was worried about the long term effects that the roles would have on his voice. He was extremely well known for his Otello, oddly enough. He was able to float some of the most beautiful pianissimo high notes of his time and his top register has as much (if not more) ease as Luciano Pavarotti's. Slezak had a voice with such a unique and individual colour and timbre that after one listen one can never truly forget it.
Whether you are hearing this familiar old singer one more time, or whether you are hearing this golden age master for the first time, enjoy!
Wednesday, April 25, 2012
RECORDING OF THE MONTH- April 2012: IL BARBIERE DI SIVIGLIA by ROSSINI
For those of you who know me personally, you will know that bel canto is not exactly "my thing"… It isn't that I dislike it, I think it has its place and some of the vocal writing is, naturally, some of the most beautiful, however, I have never really felt a connection with the bel canto repertoire like I have with many other styles of opera.
With that said, there are times when nothing can satisfy like a frivolous frolic through an Opera Buffa by Rossini or Donizetti. It was time to tackle a review of a bel canto opera. I thought it best to start with the Grandfather and essentially the creator of what we know as Italian Opera- Gioachino Rossini. When looking at his works, how could you start anywhere but the 1916 super hit, Il Barbiere di Siviglia?
When deciding on which recording to review, I had some major issues (different issues, that is, than the ones that usually preside in my daily life). There are a lot of recordings I listen to on a regular basis, all for different reasons.
One of my absolute favourites is Sir Neville Marriner's stylish 1982 reading with Sir Thomas Allen, Francisco Araiza, Agnes Baltsa, and Robert Lloyd. Thomas Allen rocks the role of Figaro, and Araiza sings Almaviva like a God. Baltsa dances through the opera with that lean tone and glistening high notes we expect from her.
The 1975 recording by James Levine for example is always a solid choice. With singers like, Sherrill Milnes, Nicolai Gedda, and (possibly the greatest Rosina) Beverly Sills, how can you go wrong?
The 2008 live set by Miguel Gómez-Martínez with Nathan Gunn, Elina Garanča, and Lawrence Brownlee is also fun. The first recording of the opera in over a decade, it is live, which is always a draw, and Lawrence Brownlee gives what is possibly the best sung Almaviva in 50+ years. However, while Gunn is incredibly charming, he does lack some of the required bravado to my ear, and Garanča, whose voice has been described as "smoky and voluptuous" doesn't exactly fit the mold of what should be a spirited young girl. She is more of a petulant, young temptress.
Also, one mustn't omit the Leinsdorf recording with Roberta Peters, Robert Merrill, Cesare Valletti and Giorgio Tozzi!
Those are a few examples of many, but to get to the point, I had to chose one. I had decided on the 1962 Glyndebourne set by Vittorio Gui with EMI. Victoria de los Angeles, Sesto Bruscantini as Figaro, and Luigi Alva as Almaviva. Fabulous singing. Wonderful conducting. Possibly lacking in some of the "fun" as it is essentially a come scritto performance that is true to the score for recording purposes, but the conducting is swift and energized and the intent is all in the right place, it is inherently Italianate and who could ask for much more?
At the last minute, I had a change of heart. When all is said and done, I just couldn't bring myself to chose a recording where the Rosina is sung by a soprano. I am, at the core, a huge purist, and while some of the greatest Rosinas have been sopranos, and I would argue that MOST of the recorded documentation is sung by sopranos, we shan't forget that Rossini wrote it FOR a mezzo and it should be cast accordingly. Therefore when push came to shove, I chose this one.
The 1989 Decca disc conducted by Giuseppe Patanè very shortly before his untimely death in München. The cast is Italian and nearly unbeatable.
Figaro - Leo Nucci
Rosina - Cecilia Bartoli
Il Conte d'Almaviva - William Matteuzzi
Bartolo - Enrico Fissore
Basilio - Paata Burchuladze
Ochestra e coro del Teatro Comunale di Bologna
Leo Nucci, perhaps NOW known more for his Verdian singing, shines here as Figaro. A few years before he started in with the heaviest Verdi roles, his voice sounds healthy and effortless. His high As pop off in his entrance aria with precision and plenty of that expected bravado. He plots his way through this score with the confidence that we all wish we had at times, making it more than apparent that he is a native speaker. Constantly playing with the language and colouring the words with every twist and turn of the plot, keeping even the most Italian-impared eager and enthralled.
William Matteuzzi perhaps doesn't have a voice that appeals to everyone, however his light Italian tenor is suited perfectly to the Rossini and Donizetti repertoire. He uses the voice to act the role from his most noble moments as Count Almaviva to his most silly and drunken moments as Lindoro and his buffo characterization of Basilio in that ridiculously star-crossed voice lesson. In his first act arias, his ornaments gently dance like the flickering flame of a candle and his top notes resonate with ease and charm. It is a shame that for whatever reason he did not sing the final aria on this reading. Cessa di più resistere is by and large one of the most thrilling and challenging bel canto arias for tenori and it is not surprising or unusual that this aria to be cut. Most tenors just simply cannot sing it. I highly encourage you to look up the recording of Francisco Araiza, or more recently, Lawrence Brownlee singing this aria. Their energy and accuracy will amaze you and the shimmering ring of their top notes will leave you nearly speechless.
The bassos are wonderfully sung by Paata Burchuladze (Basilio) and Enrico Fissore (Bartolo) in an admirably buffo style. They bumble and bounce around the score with adequate mischief while trying to foil the romantic intentions of these young lovers. Burchuladze's comic accomplishments are balanced by his vocal prowess, seen with his high G at the end of La calunnia - reminding us that he focuses much of his time, not with the Buffo roles of Rossini, but the roles of Verdi and the old Russian masters. The equally adept Fissore performs with style the (also often cut) A un dottor della mia sorte with comic flare and relatively clean diction, which is not an easy feat.
At the heart of this blithe and convivial romp of an opera, is the, then, 23 year-old Cecilia Bartoli. You will not hear the Cecilia here that we all know with her bright, glistening voice that glides through high tessituri with a soprano-like brilliance, but a much more "mezzo-like", rich colour. Her dark, young, taffy-like tone trills and parades through this score with such leisure that one might think it was written for her. Her occasional ornament into her upper-extension is a clear sign as to what her career would eventually become and the low Gs that litter the role are all solid enough. While most mezzos find it difficult to sound youthful and perky, Bartoli seems to manage without the slightest trouble. Her voice, in truth, doesn't have the subtlety and consistency that it has now, but she was 23 and a role recording of this caliber would be a triumph for any 23 year old.
Ultimately what makes this recording so excellent is the fun that they are having. Led by Giuseppe Patanè, we can tell that everyone involved in this recording is truly having a blast doing it. Because the cast (and orchestra) is dominated so heavily by Italians, the words come to life in a funhouse of twisting and twirling that reminds one what Opera Buffa is all about… what Opera is all about… what music is all about.
Joy.
Even the most ängstlich of music is truly about the joy of communicating and relating in some way to the audience. Without that joy of reaching out and touching others, why are we doing this?
This is a fabulous recording. For anyone who isn't a Mezzo or for that matter, a crippling purist like myself, I would HIGHLY recommend the wonderful 1963 recording by Gui with de los Angeles and Bruscantini and Luigi Alva. But one recording that is easily equal, and more accurate historically to what the composer originally intended (which I really support, see: René Jacobs), is this gem. Check it out if you want a good time. ;)
-Christopher Michael Kelley
P.S. Next month... FRENCH!
With that said, there are times when nothing can satisfy like a frivolous frolic through an Opera Buffa by Rossini or Donizetti. It was time to tackle a review of a bel canto opera. I thought it best to start with the Grandfather and essentially the creator of what we know as Italian Opera- Gioachino Rossini. When looking at his works, how could you start anywhere but the 1916 super hit, Il Barbiere di Siviglia?
When deciding on which recording to review, I had some major issues (different issues, that is, than the ones that usually preside in my daily life). There are a lot of recordings I listen to on a regular basis, all for different reasons.
One of my absolute favourites is Sir Neville Marriner's stylish 1982 reading with Sir Thomas Allen, Francisco Araiza, Agnes Baltsa, and Robert Lloyd. Thomas Allen rocks the role of Figaro, and Araiza sings Almaviva like a God. Baltsa dances through the opera with that lean tone and glistening high notes we expect from her.
The 1975 recording by James Levine for example is always a solid choice. With singers like, Sherrill Milnes, Nicolai Gedda, and (possibly the greatest Rosina) Beverly Sills, how can you go wrong?
The 2008 live set by Miguel Gómez-Martínez with Nathan Gunn, Elina Garanča, and Lawrence Brownlee is also fun. The first recording of the opera in over a decade, it is live, which is always a draw, and Lawrence Brownlee gives what is possibly the best sung Almaviva in 50+ years. However, while Gunn is incredibly charming, he does lack some of the required bravado to my ear, and Garanča, whose voice has been described as "smoky and voluptuous" doesn't exactly fit the mold of what should be a spirited young girl. She is more of a petulant, young temptress.
Also, one mustn't omit the Leinsdorf recording with Roberta Peters, Robert Merrill, Cesare Valletti and Giorgio Tozzi!
Those are a few examples of many, but to get to the point, I had to chose one. I had decided on the 1962 Glyndebourne set by Vittorio Gui with EMI. Victoria de los Angeles, Sesto Bruscantini as Figaro, and Luigi Alva as Almaviva. Fabulous singing. Wonderful conducting. Possibly lacking in some of the "fun" as it is essentially a come scritto performance that is true to the score for recording purposes, but the conducting is swift and energized and the intent is all in the right place, it is inherently Italianate and who could ask for much more?
At the last minute, I had a change of heart. When all is said and done, I just couldn't bring myself to chose a recording where the Rosina is sung by a soprano. I am, at the core, a huge purist, and while some of the greatest Rosinas have been sopranos, and I would argue that MOST of the recorded documentation is sung by sopranos, we shan't forget that Rossini wrote it FOR a mezzo and it should be cast accordingly. Therefore when push came to shove, I chose this one.
The 1989 Decca disc conducted by Giuseppe Patanè very shortly before his untimely death in München. The cast is Italian and nearly unbeatable.
Figaro - Leo Nucci
Rosina - Cecilia Bartoli
Il Conte d'Almaviva - William Matteuzzi
Bartolo - Enrico Fissore
Basilio - Paata Burchuladze
Ochestra e coro del Teatro Comunale di Bologna
Leo Nucci, perhaps NOW known more for his Verdian singing, shines here as Figaro. A few years before he started in with the heaviest Verdi roles, his voice sounds healthy and effortless. His high As pop off in his entrance aria with precision and plenty of that expected bravado. He plots his way through this score with the confidence that we all wish we had at times, making it more than apparent that he is a native speaker. Constantly playing with the language and colouring the words with every twist and turn of the plot, keeping even the most Italian-impared eager and enthralled.
William Matteuzzi perhaps doesn't have a voice that appeals to everyone, however his light Italian tenor is suited perfectly to the Rossini and Donizetti repertoire. He uses the voice to act the role from his most noble moments as Count Almaviva to his most silly and drunken moments as Lindoro and his buffo characterization of Basilio in that ridiculously star-crossed voice lesson. In his first act arias, his ornaments gently dance like the flickering flame of a candle and his top notes resonate with ease and charm. It is a shame that for whatever reason he did not sing the final aria on this reading. Cessa di più resistere is by and large one of the most thrilling and challenging bel canto arias for tenori and it is not surprising or unusual that this aria to be cut. Most tenors just simply cannot sing it. I highly encourage you to look up the recording of Francisco Araiza, or more recently, Lawrence Brownlee singing this aria. Their energy and accuracy will amaze you and the shimmering ring of their top notes will leave you nearly speechless.
The bassos are wonderfully sung by Paata Burchuladze (Basilio) and Enrico Fissore (Bartolo) in an admirably buffo style. They bumble and bounce around the score with adequate mischief while trying to foil the romantic intentions of these young lovers. Burchuladze's comic accomplishments are balanced by his vocal prowess, seen with his high G at the end of La calunnia - reminding us that he focuses much of his time, not with the Buffo roles of Rossini, but the roles of Verdi and the old Russian masters. The equally adept Fissore performs with style the (also often cut) A un dottor della mia sorte with comic flare and relatively clean diction, which is not an easy feat.
At the heart of this blithe and convivial romp of an opera, is the, then, 23 year-old Cecilia Bartoli. You will not hear the Cecilia here that we all know with her bright, glistening voice that glides through high tessituri with a soprano-like brilliance, but a much more "mezzo-like", rich colour. Her dark, young, taffy-like tone trills and parades through this score with such leisure that one might think it was written for her. Her occasional ornament into her upper-extension is a clear sign as to what her career would eventually become and the low Gs that litter the role are all solid enough. While most mezzos find it difficult to sound youthful and perky, Bartoli seems to manage without the slightest trouble. Her voice, in truth, doesn't have the subtlety and consistency that it has now, but she was 23 and a role recording of this caliber would be a triumph for any 23 year old.
Ultimately what makes this recording so excellent is the fun that they are having. Led by Giuseppe Patanè, we can tell that everyone involved in this recording is truly having a blast doing it. Because the cast (and orchestra) is dominated so heavily by Italians, the words come to life in a funhouse of twisting and twirling that reminds one what Opera Buffa is all about… what Opera is all about… what music is all about.
Joy.
Even the most ängstlich of music is truly about the joy of communicating and relating in some way to the audience. Without that joy of reaching out and touching others, why are we doing this?
This is a fabulous recording. For anyone who isn't a Mezzo or for that matter, a crippling purist like myself, I would HIGHLY recommend the wonderful 1963 recording by Gui with de los Angeles and Bruscantini and Luigi Alva. But one recording that is easily equal, and more accurate historically to what the composer originally intended (which I really support, see: René Jacobs), is this gem. Check it out if you want a good time. ;)
-Christopher Michael Kelley
P.S. Next month... FRENCH!
Wednesday, March 28, 2012
RECORDING OF THE MONTH- March 2012: TOSCA by PUCCINI
There is not a doubt in my mind that one of my all-time favourite operas has to be Tosca by Giacomo Puccini. One thing people should know about me is that I am a very nostalgic person, and I think my ideal time period to live in would be at the turn of the 20th century. La Belle Époque. It was a time of change, a time of excitement. People all over the world were in such energized anticipation of progress. A feeling that cannot even remotely be understood today when we have everything and our lives SHOULD be simpler than ever before.
This opera embodies the time period it was written in perfectly. Tosca welcomed in the 20th century with its premiere on 14 January 1900. While it has the charm and elegance of more traditional Italian operas, the heavy brass, odd dissonances for theatrical purposes, and declamatory vocal writing are hinting at what is to come in the world of opera. It is a fantastic piece of theatre that embodies everything we love about opera.
If I were asked to name the very best recording of Tosca, I would (after quite a bit of internal debate) probably say the 1953 EMI La Scala set conducted brilliantly by de Sabata with Maria Callas, (a young) Giuseppe di Stefano, and a menacing Tito Gobbi. After all these years, this essentially perfect reading is still unrivaled. De Sabata leads these sacred monsters through the score with intellect, discernment and swiftness. Callas's multi-layered tigress of a Tosca gives unequalled insight to the character. Di Stefano's youthful vigor and still relatively fresh voice touch the audience at a very human level and Gobbi's audible sneer throughout this entirely evil role is immortal.
However… I would rather discuss a different Tosca. This is about a Saturday Matinee Live Broadcast from the Met on 7 April 1962. The cast is as follows:
Floria Tosca - Leontyne Price
Mario Cavaradossi - Franco Corelli
Baron Scarpia - Cornell MacNeil
Sacristan - Ezio Flagello
Angelotti - Norman Scott
Conducted by the Met's Kapellmeister, Kurt Adler.
Even though he is primarily the Chorus Master, he conducts this performance very well with a great understanding of the work. He leads the orchestra clearly and maintains firm order, which is not an easy task with singers like Corelli on stage in front of him. Somehow he keeps in control of the performance while still allowing the freedom and liberties these singers expect. Don't misunderstand though, this is in no way a conductor's performance. This is an old-fashioned singer's afternoon… and with singers like this, that is exactly as it should be.
Franco Corelli is a formidable presence here, after debuting at the Met only the previous season (the same as Price). It is often said that this is NOT the best performance of the still young Corelli, and that is true. His top on this disc doesn't seem quite as easy as it does on other live recordings, and that is saying something. But even with a hint of pushing, he handles this virile role with masculinity and ardor. His opening aria, "Recondita armonia", which acts as a warm up for most tenors in this role, rings true with a voice that appears to be fresh and ready to go, and it should be mentioned that the last phrase is balanced perfectly by Adler with Franco and the French horns. His act one high B on "or vita mi costassi" is among the most alive and thrilling one can hear. You can see that he is still relatively up and coming on this disc. His famous diminuendo in "E lucevan"(which he didn't do in the very beginning of his career) is not quite as balanced as it is sometimes. But overall he epitomizes this role and his chiaro scuro is rivaled ONLY by the likes of del Monaco.
Cornell MacNeil is truly one of the most unsung heroes of the operatic stage of all time. MacNeil had a top that was rarely matched. Cornell MacNeil in his prime was some of the best Verdi Baritone singing the world has ever heard. His Scarpia may not have the intrinsic "snarl" that Gobbi's does, but instead of the slimy, lustful, letch, he plays a more noble, obsessive police chief. Even if one wished for more colours and vocal acting, the role is impeccably sung. You may have other preferences, but you would be hard-pressed to find somebody to sing the role any better. He is an equal match to his two partners in this production.
Even the small roles are filled with singers who are MORE than adequate. Ezio Flagello sings the sacristan with vocal splendor, almost upstaging MacNeil in their scene together. Angelotti is filled with another Met mainstay, the aging, yet more than competent, Norman Scott.
Even with this impressive and skilled roster, it should not be a surprise that the real star here is Leontyne Price. The young price glides through this passionate role with elegance, femininity, and desperation. Her voice seems healthy and lyric. Moments of grandeur and depth lead to bars of fury and fervor that transform to showcase her resplendent high extension like the scene that leads up to "O dolci mani" in act three. It is apparent why she became so associated with "Vissi d'arte" in her time, she sings it with introspection and contemplation that bubbles up like a volcano waiting to erupt and builds to the moment she decides to take matters into her own hands. She may have a slightly less complex character than Callas, but the passion that exudes from every note she sings results in a listening experience that is so thrilling, it could make even the coldest of heart get sucked into this dramatic and theatrical plot line. In her scenes with Corelli, this excitement is doubled.
It makes one think about that fact that this was just another Saturday afternoon at the old Metropolitan Opera. They don't make singers like that anymore. I defy anyone to find me a production from the Met of the last 20 years with it's over trained, under appreciated, and financially burdened singers that comes anywhere near the life-changing thrill of this truly great singing. This is a precious documentation of what opera used to be like. One can only hope we find our way back there.
If you only have one recording of Tosca, I would recommend the EMI disc conducted by de Sabata with Callas , di Stefano, and Gobbi, but if you want a second one that will suck you into its passion, charm and above all, wonderful singing, then find this one.
-Christopher Michael Kelley
PS. Other good options are the 1997 Levine recording with Renata Scotto, Renato Bruson, and Placido Domingo and also, the 1956 Leinsdorf set with Jussi Björling, Zinka Milanov and Leonard Warren...
Saturday, January 28, 2012
RECORDING OF THE MONTH- January 2012: COSÌ FAN TUTTE by MOZART (René Jacobs)
This is the last review in my series of René Jacobs's readings of Mozart's Da Ponte operas. It is also my first review of Così fan tutte, which is puzzling as Così is among my all-time favourite operas. I hold firm that this opera contains some of the most thrillingly beautiful music Mozart ever composed, and since it was his 256th birthday yesterday, it seems fitting to me that this opera be reviewed today.
The libretto, that is crafted ingeniously by Da Ponte, carries no proof that there was an original source. While some try to make connections that the idea was taken from a number of sources including but not limited to: the Procris story, Boccaccio, Cervantes, etc, because of similar plot elements (i.e. a wager and a trial of women's fidelity), it is ultimately recognized that the story is entirely original. There is little written on the genesis of the work except that on 31 December 1789 and again in January of 1790, the work was rehearsed in Mozart's apartment with Haydn present. It opened in February in Vienna with five performances before the death of Joseph II which closed down all the theatres; five more performances followed from June to August, and for many years thereafter it was considered one of Mozart's weaker pieces. In Germany and Austria the music was used more often in pastiches than in it's original form. In 1934 it was the second production at Glyndebourne and since then it has taken its rightful place along the other Mozart masterpieces.
Even with its reputation restored however, it tends to be bashed by opera fans and singers alike. I myself have stated that it is nearly impossible to stay awake through the second act aria marathon. It is criticized for the frivolity, triviality, and even chauvinism of the plot. But this story is not any of those things. When one looks closer, this story is nearing the territory of essentially Shakespearean drama (more specifically in many ways, Cymbeline). One must remember during this opera, that while the physical events seem entirely unrealistic and even verge on the absurd, it is not the events that serve as the moral, but what it all stands for - humanity and human frailty.
While the title refers to "Women are all like that"... I argue that at the bottom of it all, even Mozart and the men of the 18th century knew that the point stands that "PEOPLE are all like that." We all fall in love, sometimes with the wrong people and we all make mistakes. We all hurt those we care about and we all are hurt, sooner or later by those we care about the most. We are all but human, and worthy of forgiveness. You can see this built in to the libretto and more importantly the SCORE. The opera is not sexist at all if one is capable of looking at it through non-literal eyes.
There are quite a few wonderful recordings of this beautiful work. Some of my favourites include the 1954 EMI set conducted by Herbert von Karajan and the Philharmonia Orchestra.
Don Alfonso - Sesto Bruscantini
Despina - Lisa Otto
Fiordiligi - Elisabeth Schwarzkopf
Dorabella - Nan Merriman
Guglielmo - Rolando Panerai
Ferrando - Léopold Simoneau
The always exceptional Mozartean, Karl Böhm set from 1962 for EMI is excellent. While the singers admittedly lack the youthful vocal freshness and clarity desired, the conducting is unbeatable.
Don Alfonso - Walter Berry
Despina - Hanny Steffek
Fiordiligi - Elisabeth Schwarzkopf
Dorabella - Christa Ludwig
Guglielmo - Giuseppe Taddei
Ferrando - Alfredo Kraus
Levine's recording is wonderful too. Some of the singers on that reading are simply stellar. Te Kanawa and Hans-Peter Blochwitz shine. Especially Blochwitz, singing one of the most beautiful and effortless Ferrandos I have ever been blessed to hear.
Don Alfonso - Ferruccio Furlanetto
Despina - Marie McLaughlin
Fiordiligi - Kiri Te Kanawa
Dorabella - Ann Murray
Guglielmo - Thomas Hampson
Ferrando - Hans-Peter Blochwitz
This recording by Jacobs with Concerto Köln on period instrumentation, has joined the ranks against these greats.
Don Alfonso - Pietro Spagnoli
Despina - Graciela Oddone
Fiordiligi - Véronique Gens
Dorabella - Bernarda Fink
Guglielmo - Marcel Boone
Ferrando - Werner Güra
From the first chord we hear on this disc in the overture, one can tell that this will be a clean, crisp, and precise ensemble recording of this work that is so dependent on the precision of the ensembles. After the initial statement of the "così fan tutte" theme, it launches into the next section at a brisk tempo that would test any concert master. Like Jacobs's other Da Ponte recordings, his tempi are a bit varied for my taste, but he is an indisputable master of bringing out the drama in these works. Even more so than his other readings, in this Così his fasts are faster and his slows are slower. Accepting these extremes, I will say that they work very well (even if not entirely desired). His Soave sia il vento is slower than most, therefore it is better than most. The majority of conductors take that breathtakingly beautiful trio like a bat out of hell. While that makes it easier to sing for the Fiordiligis that have to float above the other two like a hummingbird suspended, for what seems to these sopranos to be an eternity, these break-neck tempi lose all the poignancy of the moment through a rushed and careless tempo. In a similar fashion, Ferrando and Fiordiligi's act II duet, Fra gli amplessi is taken with a slow, gentle tempo that really brings out probably one of the only truly touching moments of pure, honest love in the whole three hour opera. The same can be said for the letter quintet before the boys are shipped off. Their youthful infatuation and genuine, simple feelings toward each other really are brought to the forefront by the gently flowing counterpoint, composed quite choralistically, constantly swelling and diminishing like the beats of their young fickle young hearts. On the other side of the coin, some moments are taken at a speed that instills a kind of urgency that works brilliantly, i.e. Dorabella's Smanie implacabile and the entirety of the Act I finale. Moments like Una donna a quindic'anni are taken rather slowly for my tastes, and the reason for this illudes me. Whatever the reason, it doesn't distract too much to my thinking, so ultimately it is neither here nor there.
Even with a slightly slower tempo in her second aria (particularly in the beginning), Graciela Oddone gives an outstanding performance here as Despina. She has really made the role her own. She pokes fun at the girls throughout this opera with the wit and a cynical tenderness that makes us love her Despina. Her embellishments and cadenzas are filled with energy and always keep from being too predictable and she attacks her character scenes with such commitment, one cannot help but to chuckle. The arch of her character on this disc is very well balanced and in many reviews she doesn't get the praise I think she has earned. If anyone steals the show here, it is her. Brava.
Her counterpart, the puppet master, Don Alfonso does a very nice job, however his character should capture a bit more attention than he does here. Whether that has to do with the emphasis he is given through the conducting, or whether Pietro Spagnoli just has not done his job well enough, I don't know, but this is one of Mozart's most complicated, human, and vexed characters. We see (or hear in this case) him bubbling over with cynicism and bitterness one minute and then we see his softer side that indicates that he may not truly believe in his heart all these things he is pushing on the boys. I think Spagnoli sings the role very well and colours his recits with a very specific dramatic intent, however, it leaves the listener wanting more. This is a character that so much can be done with. He should be having more fun with this complex role. Alfonso should steal the show.
Véronique Gens gets a lot of praise for this recording, and rightfully so. She is truly at home here. Her tone is warm and rich with a twinge of youthfulness always present. Her recitatives are always spot on and conversational with a momentum from the Pianoforte that only Jacobs recordings can achieve. Her registers fade in and out so beautifully that it makes the audience forget sometimes, just how ridiculous the range really is. What she does best is her unique style of elegance that colours the role from the first note. Her second act aria, Per pieta is one that I have rarely been awake for while seeing this live, but her beautiful legato and always specific intention could keep me engaged from start to finish, even after some muscle relaxants and a Manhattan or two. Equally as good as her Contessa. Probably better.
Bernarda Fink, one of the only singers on this disc (along with Gens to some extent) that were really known of before this, sings Dorabella with a wonderful energy. Her ornaments are interesting, unexpected, and anything but subtle... sort of like Dorabella herself... coincidence? I think not. She keeps up with the racing tempo in her first act aria catching those medling breaths when she can and achieving a perfect breathlessness, whether intentional or not, that is really needed here. Her character is very well thought out and comes through the music and especially through her specific textual emphasis. Really a well crafted interpretation that should be applauded.
The two young soldiers are often criticized for not standing out in this recording. I find, however, that their roles weren't written to stand out quite as much as the girls.
Marcel Boone, is an excellent Guglielmo. Even if he doesn't sing it quite to the level of Hampson, Prey or Panerai, there is nothing I can find wrong with his performance. It is driven by his youthful vigor and cockiness and it sounds as if he is having a blast, and his act II duet with Dorabella is plenty slimy. Could he sing better? Absolutely, but his vocal acting is quite commendable.
Güra's Ferrando gets overlooked quite a bit from reviewers, but I don't really understand why. I think this is one of the best Ferrandos on the market. It rivals John Aler's (Haitink, EMI), Simoneau's (Karajan, EMI), and definitely shows up Kraus's (Böhm, EMI). Kraus was one of the truly great tenors of the 20th century, but his Ferrando I find dull and vocally far too Italianate for my tastes. The only tenor who truly is unmatched in the recording world for this role in my (not so) humble opinion, is Hans-Peter Blochwitz who I mentioned earlier. His Un'aura amorosa is one of my personally most beloved examples of recorded music. It is one of my true zen pieces, and he sings it with a gentle, floating line that makes one forget just how difficult this role is. Güra, though, comes very close. His Ferrando definitely comes through as wide eyed and pretending to be more of a "man" than the "boy" that he really is. His floated Larghetto in the act II duet, Fra gli amplessi is among the most tender renderings of this duet on disc, with his e più se vuoi ascending to a top A with a delicacy that makes the listener's heart hurt from the pangs of their own long past young love. People seem to take for granted the sheer beauty in some recordings, which brings me to one of my soap boxes: Pure beauty for beauty's sake is something that these new generations don't give enough credit to. Sometimes one doesn't need grand statements about society or satirical portaits to make something meaningful, but just a moment of beauty for no other reason than to experience beauty - something that only humans can create out of essentially nothing. Is that not what humanity is all about? Isn't that really what ART is all about?
Even with a lot of the cast not particularly standing out in their solo efforts, what makes this recording so phenomenal is the ensemble. Definitely the most ensemble based of all of Mozart's operas, the tightness of this cast and conductor reminds us how wonderful this opera can be. The polish that this disc contains is something that few other recordings can match. It is definitely a Così like none other on disc, but it is also one you will never forget.
Jacobs's witty and historically informed Da Ponte readings are bound to start redefining the way the next generation thinks about Mozart, and considering it is based less on "tradition" and more on historical performance practice, the way it was "intended" to be heard, I think this is exactly the direction we SHOULD be going with Mozart. All three of these recordings I have reviewed as of late are essential recordings that any lover of music and more specifically opera should have on their shelf (or on their hard drive as the 21st century case may be...).
While these recordings definitely receive mixed reviews from the purists, and I myself am drawn usually to simpler more traditional performances. But it is so very important to continue to look at pieces through new lenses and with different intentions. I try to constantly remind myself that if I have stopped changing my mind, I have in effect stopped thinking. These recordings are a perfect way to keep us from getting too stuck in our ways.
- Christopher Michael Kelley
Wednesday, December 28, 2011
RECORDING OF THE MONTH- December 2011: DON GIOVANNI by MOZART (René Jacobs)
Jacobs's Don Giovanni, like his Le Nozze di Figaro, is anything but expected. He has never been one to follow the mainstream.
If you have read my blog in June 2010, you know my intense appreciation for Giulini's 1959 Don Giovanni. Wächter, Taddei, Sutherland, Schwarzkopf, Alva, Sciutti et al. I think that for all it's worth, Giulini's is the closest one can get to a perfect Don Giovanni. I still feel that way... BUT this set is a close second in many ways, and as far as period practice, it is nigh unto perfect. That is René Jacobs's intention. It seems odd to me that a recording that is based on historical fact and what we know to be Mozart's intentions could be considered new, innovative and groundbreaking... but somehow, all of Jacobs's Mozart recordings are.
But even with controversy (this recording, chalk full of appogiaturas, sudden tempo changes and occasional ornamentation), is among the greatest documentations of the work on disc.
The cast is as follows:
Don Giovanni - Johannes Weisser
Leporello - Lorenzo Ragazzo
Donna Anna - Olga Pasichnyk
Don Ottavio - Kenneth Tarver
Donna Elvira - Alexandrina Pendatchanska
Zerlina - Sunhae Im
Masetto - Nicolay Borchev
Commendatore - Alessandro Guernzoni
Just like his Nozze, Jacobs really emphasizes the drama on this disc above all else. One device that he tends to use for this drama is the use of sudden dramatic tempo changes. I am not entirely convinced on this. One of the brilliant things about Mozart (especially in his Da Ponte settings) is his use of basically one consistant tempo throughout the entire opera. But while his tempo shifts obliterate THAT aspect, they keep the listener entirely engaged in the drama. Like his other recordings, the continuo keeps the recitativo secco moving with a clear and distinct purpose and dramatic intention. Some may think that this kind of solo continuo commentary is great for the buffos like Nozze, but for the more serious plot lines, it is distracting. I can see that, however I find the pianoforte player to alter the manner in which he improvises perfectly for the darker ambience. With that said, in this Dramma giacoso Jacobs tends to on occasion focus a little too heavily on the "giacoso" part for my tastes. Although I admit, in current productions, it does have a tendency to over play the drama, making it too heavy. Jacobs was quoted calling it, "the least known of the Da Ponte operas, even though it's the most frequently performed" he goes on to say, "we much prefer the risk of displeasing the public to betraying the work." This is a sentiment I can get behind. I think the opera world needs more people who think like that.
In the accompanying booklet he discusses some of the decisions he made for those who question his judgement. In particular, his choice of doing the Vienna production of 1788. This differs from the usual pastiche one sees of the Vienna production combined with the Prague production for crowd- and singer-pleasability. He choses to be faithful to one version in its entirety. The only real noticeable differences are a chunk in the middle of act two completely rewritten and the exclusion of Don Ottavio's aria Il mio tesoro. The other decision the ignorant music world questions is his casting of Don Giovanni in Johannes Weisser.
This young Norwegian lyric baritone was 27 years old at the time of the recording. When one thinks of some of the most famous Don Giovannis over the last 100 years, they include Ezio Pinza, George London and Cesare Siepi... I much prefer the young, fresh Weisser to all of the above. If you would like a refresher on WHY, please refer back to my previous Don Giovanni blog here.
Weisser approaches this young, licentious nobleman from a very understated place. No grand gestures intended to symbolize all evil in the world or anything... just exactly what the character requires. A young, over privileged, guy with enough power and money to make Solomon blush, and nothing to do with it. His outlet has become chasing women. He is charming, good-looking, selfish and rich. We all know somebody like that. That is what Da Ponte's characters are all about. Not symbols and statements, just honest human characters. Weisser struts and dances through the score with his light, silvery baritone. He delivers a slower tempo, but high energy 'finch'han dal vino' before the act 1 finale, he floats through 'Deh vieni alla finestra' in act 2 with a finesse that could woo the coldest of spinster house maids, with ornamentation that is neither expected nor forced. His blood curdling scream at the end of the opera as he is drug down to Hell is perhaps the most convincing I have heard on record. His style of seduction is deferent from the way it is usually heard, and probably a much more effective strategy in all honesty. His approach is that of overtly sweet and gentle, which woos the ladies into a false sense of security that they realize only after he has already deserted them. One may prefer a bit more bravura and blatant arrogance in their Don Giovanni, but his is definitely fresh. He is young and has a long way to go still in his career. His voice will become better with age and his characterization of this great role will grow with time and experience, but his first documentation of the role here is of an incredibly respectable quality and uniqueness that should be applauded.
His partner in crime, for the most part against his will, is Leporello. Sung here by a friend of ours, Lorenzo Ragazzo, whom we heard as Figaro in Jacobs's Nozze recording. This role may be an even better fit than his wonderful rendition of Figaro. He retains all of the buffo aspects of his character being one of the most successfully comedic examples of the role I have heard on record. His almost flawless Leporello is filled with thousands of mercurial acting nuances that come through the voice as clearly as if we were watching him live.
Alexandrina Pendatchanska brings a truly Bulgarian flare to this hot-blooded lady. She really makes clear the indecision of the character as to whether she hates Giovanni with a passion or is still madly in love with him. She is obviously a favourite of Jacobs as she was previously heard as an excellent Vitellia on his La Clemenza di Tito recording. Even with her excellent portrayal, and characterization I feel as if she may be slightly miscast. Throughout the set one can hear her constant struggle as to whether to "let it out" or hold back in a more lyrical manner. It feels through much of the opera as if she is holding back beyond what is truly comfortable. Is it possible her voice is just too large for this Mozartean role???
The other soprano here with a slightly Slavic flare is the Ukrainian Olga Pasichnyk as Donna Anna. Some reviewers say she is a bit too much of a drama queen, some say she often hovers dangerously close to being flat and is reluctant to give the character any real dramatic dimension... in lieu of these contrary statements I will say that she sings the role with the drama of a young girl who doesn't understand these new feelings she is experiencing and she sometimes tends to project a very inward interpretation which could be explained by somebody who is uncomfortable with all these feelings that they do not truly understand. Her voice is clear and distinct with a nice intention behind every phrase. Pasichnyk's rendering of Donn'Anna's final aria, "Non mi dir, bell'idol mio" is quite possibly the most breathtakingly gorgeous version of the aria I have ever heard in my life. Making even Dame Joan Sutherland's pale in comparison. As a singer with a voice of notable size, she maintains throughout the aria a dynamic that begs the listener to stop what they're doing and listen that much closer. She glides through the long, soaring lines with a warm, but glistening tone and a liquid legato that if one allows, could bring tears to the eyes of even the most hardened among us. The way she sails through just about the longest phrase I have ever heard, from ch'io mora in measure 46 through a beautiful embellishment and on through the opening phrase of the next section, on one impeccable breath can truly stop the listeners breathing and slow the heart rate, as if they are suspended in a stratosphere of pure beauty for just that one moment… and isn't that what art is all about?
Sunhae Im brings a one of a kind sass to Zerlina that gives her a fresh new attitude problem that works wonders for the character. Don't you tire of the little innocent, naive, BORING way most people play that role? Her two arias, which we have all heard sung badly an uncountable number of times, have new life here with elegant phrasing, dramatic intention and unique ornamentation. Masetto is adequately buffo-ish and The Commendatory is stately enough, but obviously can't compare in vocal stature to Gottlob Frick, or even more so, Matti Talvela on Böhm's set.
Last but certainly not least is Kenneth Tarver as Don Ottavio. He sings with a light, lyric fortitude that fits the music vocally perfect. His diction is clear, his tone gorgeous and lean and his understanding of this young man's struggle over the course of the opera is rarely heard with such honesty in opera houses today. While I completely support Jacobs's choice to be faithful to the Viennese Version, I find it a great shame that we don't get to hear Tarver sing the wonderful "Il mio tesoro" as well. But if I have to choose one, "Dalla sua pace" satisfies entirely. And it may be worth losing "Il mio tesoro" to get Elvira's final aria, "Mi tradi"in the Vienna version.
Years ago Maria Callas criticized the habit of performers to sing and play Mozart as if they were on their "tip-toes." It doesn't take a musicologist to see that this is exactly what René Jacobs wanted to break down with these Mozart recordings. And with the exception perhaps of Alexandrina Pendatchanska's cautious approach to Donna Elvira's music, he has done this excellently. Not by rethinking the older customs, but by returning to what may have been the original intent.
One of the greatest Don Giovanni recordings available, it hasn't replaced my Giulini recording, but it has a very well earned spot on my shelf right next to it and the Gardiner set with Gilfry.
- Christopher Michael Kelley
(Next month: Così fan tutte by René Jacobs)
Wednesday, November 23, 2011
RECORDING OF THE MONTH- November 2011: LE NOZZE DI FIGARO by MOZART (René Jacobs)
It has been quite a while since I have written a review here. My apologies. Sometimes life just gets the best of you. Also, I know that I have already written a review on Le Nozze di Figaro. This is the first review of a three part series. René Jacobs has recorded six of Mozart's operas to date. He started by recording the two late Opera Seria pieces, Idomeneo and La Clemenza di Tito. The idea was to give them new life. By performing them as close as possible to what we think/know Mozart wanted and expected in the original performances, we rid ourselves of the stale and sometimes odd and even inappropriate traditions previously associated with Mozart. He brought the Opera Seria pieces back to life and gave them a new energy. Then, as is only logical, he moved to the da Ponte operas. Three operas that are the backbone of everything that opera is today. In my opinion these operas NEEDED this. He reminded us what it is all about.
What is different you may ask? Well first of all, he matches somewhat more closely the singers' ages with the roles they are singing. What a novel idea! What else? He uses period instruments and performance practice, and really what makes these recordings alive, great and SO much better than the others is the recit. He treats the recit as music. Not just the boring stuff that gets you to the next aria, and that is so important in Mozart.
The rhythms and speech patterns mirror the language and conversation so perfectly even those who do not speak Italian can understand to an extent what is going on. It is as if this whole opera is happening in real time. This, of course, all rests on the continuo player on the Pianoforte, Nicolau de Figueiredo. Undoubtedly the best I have ever heard in my life, recorded or live. He keeps the energy going by a constant arpeggio that mirrors the natural tempo of the conversation, he slips in an occasional musical reference from somewhere else in the opera, acting as much as a commentator on the action as he is an accompanist. If this were live, the audience would hardly need supertitles at all.
The one thing that separates these recordings most from all others is a very controversial topic - Ornamentation. A very large number of people in and out of the business are mortally offended by ornamentation in Mozart, which quite frankly is completely ridiculous.
Yes, Mozart was the first to start writing out "exactly" what he wanted, so you can't go as crazy as you would with Handel. But part of that is just because you don't NEED to. The music by itself is phenomenal... not something you can say for most Baroque composers...
But it is indisputable that BAROQUE was the musical world he came from. The performance practices of that time period did NOT just disappear over night. When he wrote operas, he knew that some ornamentation would be happening. That is just what the singers of the time period did. It's a fact. These recordings show us that, and it is all the better for it. Do I love every ornament and embellishment that is done? No. But that's not the point. Each singer has their own take on the music, but how exciting is it to know that it won't be exactly the same as all the other Nozze recordings?!.....and honestly, the decorations and embellishments that are on this disc were chosen very carefully, and not one of them distract from the music.
Now that that's out of the way, on with René Jacobs's recording of Le Nozze di Figaro for Harmonia Mundi.
Lorenzo Regazzo - Figaro
Patrizia Ciofi - Susanna
Véronique Gens - La Contessa
Simon Keenlyside - Il Conte
Angelika Kirchschlager - Cherubino
Marie McLaughlin - Marcellina
Antonio Abete - Bartolo
Kobie van Rensburg - Basilio/Curzio
Everybody who has read this blog knows that I ALWAYS favour older recordings. I personally feel like contemporary singers and especially conductors have lost any sense of individuality. No style of their own. No reason to listen to them. But this has slowly but surely become my favourite Nozze recording. Hands down.
René Jacobs, originally from Ghent, Belgium, started his career as a boy chorister in the cathedral there. When he grew up, he continued to sing and became one of the best countertenors of his time. He made many recordings of lesser known baroque works and as countertenors have a relatively short lifespan, he moved his attentions to conducting. And the world should be thanking him for this.
Lorenzo Regazzo is a fantastic Figaro. They finally got it right. They cast a bass in the role, but a bass that DOESN'T sound like an old man! Even with his dark tone, he sounds young and vibrant with all the the masculine virility that Figaro needs. His expertly executed embellishments in "Non piu andrai" are the only thing keeping me engaged during that aria. Why that is the most famous aria in this opera I will never know. But with his energetic and convivial ornaments, it brings the close of act one to life in a way that draws the listener in. He is a particularly strong Figaro, but encompasses such a wide range of feeling we remember how human these characters are. We get the bitter and aggressive determination in "Se vuol ballare" and gentle, love struck relief at the end with "Pace, pace mio dolce tesoro." The way he interacts with the count is ideal. The constant back and forth, chess-like struggle for power between the two is clearly audible.
It is a back and forth game of wits for the whole opera between Figaro and the Count. And Simon Keenlyside is a perfect match. The energy reminds us that these are two YOUNG guys with a power struggle. One has a title and one has brains. Through Keenlyside's articulation and style alone, one can hear him for what he is. He has inherited all of this very young and he has never wanted for anything... until now. He is spoiled and selfish and because of his wild Spanish temper, he can at times lose control and become dangerous... but at the core, he is just a kid who wants his way. He isn't a horrible person. Keenlyside's may be among the best Counts ever recorded on disc. He is particularly strong in the menacing sections like in the act II trios and the act III duet with Susanna.
Patrizia Ciofi's Susanna is absolutely delightful. I may be inclined to cast a slightly lighter voice in the role, but she handles the lighter colours and playfulness with an excellent distinction. One can almost hear the laughter when she is dressing up Cherubino like a girl. Her "Deh vieni" breathes naturally. The slower tempo accentuates the sensuality that is inherent in this beautiful, secret declaration of love. Some may argue that she slightly over does the embellishments, but whether it is your personal preference or not, it maintains the appropriate style and mood and she executes it beautifully. This aria is where the heavier voice really does pay off in it's rich, warm colours.
Speaking of Cherubino, a better Cherubino has never been heard. Angelika Kirchschlager keeps the adolescent boy alive and well. Every line is delivered with an urgency that truly only exists in the realm of adolescence. Her ornamentation is fantastic and suits the arias perfectly, reminiscent of the version of "Voi che sapete" with the ornaments written out in Mozart's own hand.
Véronique Gens is a great Contessa. Adequately girlish, yet quite obviously on the verge of womanhood. Reminding us all that this is the same Rosina that was wooed only a few years earlier in The Barber of Seville. She was 16 then... so it stands to reason that she can't be any older than 20. Directors and actors alike tend to forget this fact. Her "Porgi amor" is beautifully shaped and moulded, and her "Dove sono" is spirited and lively with an energy of new hope only accentuated by her excellent ornaments.
The rest of the cast is excellent. Bartolo spectacular and Marcellina and Basilio, great enough to get their act 4 arias left in. I do think Nuria Rial has a beautifully rich, warm tone that has no business singing a role like Barbarina. This role should be exclusive territory of soubrettes. That is the only way any of her (small) contribution to the plot makes any sense at all.
Now on to Jacobs conducting, aside from his earth shattering addition of ornamentation... (sarcasm).
His orchestral balance is entirely unusual. Those who are used to a Solti or Karajan-like orchestra will hardly recognize this opera with its wind-heavy orchestral balance. The strings never take a position of having the main line, and this is completely appropriate for Mozart and his time period. A tradition that should have been corrected some time ago. Jacob's tempi are honestly freer than the majority of conductors. The count's authoritative pronouncements are taken at a quicker tempo for an extra kick of decisiveness. There are other moments of this kind of flexibility as well, like in the act 3 duet of Susanna and the Count, and while sometimes they can be disconcerting, they always have excellent dramatic intention... which IS the point, so it is easily forgiven. His tempi on the whole tend to be on the quick side but he knows where to give it time. Notably in Marcellina-Susanna's duet, the fandango and the last scene in G major when the Count begs forgiveness.
René Jacobs is reviving Mozart. Bringing it back to what it was intended to be. Not a museum exhibition, but a living breathing organism that when performed, through it's humanity and life can touch even the coldest hearted and uncultured among us.
- Christopher Michael Kelley
(Next month: Don Giovanni by René Jacobs)
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