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

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)