Mood:  sad

Recording from 1955

Butterfly - Maria Callas

Pinkerton - Nicolai Gedda

Sharpless - Mario Boriello

Suzuki - Lucia Danieli

La Scala Theater Orchestra, conductor Herbert von Karajan

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Live concert performance from Carnegie Hall, 14 November, 1965

Mood:  incredulous

Prejudice. That is why this work does not appear on the shelves of some opera lovers. The composer’s name conjures dissonance; thus are great works and performances ignored. That is a sad mistake for one should really sit and listen. Then if you fall into the ‘hate it’ rather than ‘love it’ camp your decision will be based on reason.

Further it is unlikely that there will be a better recording. I was tempted to add the word ‘ever’ but that is presumptuous. Here is a recording that drips with emotion and power. Rostropovich conducts, cajoles, creates and controls a performance of outstanding fluidity. Of course that is what Shostakovich intended with the orchestral interludes between scenes creating seamless sound in each Act. And what overwhelmingly powerful sounds there are: from quiet haunting accompaniment through wonderfully deep vibrato via sharp tonal contrasts and into brass and full orchestral violence. Here is musical tension second to none.

With Galina Vishnevshaya singing Katerina it is hardly surprising that there is an outstanding reciprocity of musical understanding: musical husband and wife teams are frequently so and this is no exception. Of course Shostakovich made Katerina a more sympathetic character that she was in the original work where cruelty predominated and no sympathy could be aroused. Here we see another side of Katerina. Whilst she is venomous to, and about, her father in law (listen to sam ty krýsa and shudder) she arouses sympathy in her lonely bedtime ‘lament’ Zherebýonok k kobýlke torópitsa; sympathy she herself feigns so well upon her father in law’s death. This is a performance of many parts: from warm cream toned richness to awesome aggression.

Her father in law, sung by Dimiter Petkov, has a simple character: thoroughly unpleasant. A mean, moaning hypocritical role (keen to protect his son’s wife until the early hours of the morning when foiled only by her lover’s presence) Petkov sings it so well he is believably dreadful. My only reservation is a slight lack of variation in dynamics until he returns as ‘his’ ghost when there are dynamics and deep coloured variation aplenty. The ever-reliable Nicolai Gedda sings the sexually duplicitous Sergey. His distinctive timbre brings more that a hint of Wagner. This is a towering performance moving through raw animal passion to obsequiousness. There is a crudity in the music which Vishnevskaya and Gedda capture faultlessly. The cuckolded husband, sung by Werner Krenn has a comparatively small and somewhat unattractive role. There is little for Krenn to build characterisation upon until his return to his home and one of the infrequent duets. He and Vishnevskaya provoke strong vocal contrasts in each other before violence erupts and ends in his death.

At this point I cannot refrain from wondering why we have not seen a production on film or television ‘loosely based’ on the story. Two deaths so far, one more to come, with a mob-handed sexual assault scene (probably updated to a gang rape) and consensual coupling off stage rather than the earlier on stage aggressive sexual passion.

So first to an assault. Taru Valjakka as Aksinya is a totally convincing victim manhandled with crudity. Here is frenetic singing and accompaniment demonstrating serious unpleasantness. Valjakka leaves us in no doubt about that with some heart-rending tones and ear piercing cries. Birgit Finnlä, as Sonyetka, seducer of, and by, Sergey has a voluptuous tone judged to perfection. There is some light relief but not lightweight singing. Robert Tear is the ‘shabby peasant’ a role he obviously relishes both in its sober and almost drunken state. Leonard Mróz as the priest produces a vocal priestly parody with his deep strong intonation. All this and yet more with distinctive and particularly clear singing from Aage Haugland, Martyn Hill and Alexander Malta. Finally there is what we have come to expect in this series by way of accompanying booklet. There is the usual full libretto which follows Richard Osborne’s synopsis of each scene and thoroughly interesting history of the opera and comments on this recording.

With such a cast it is not surprising that this was an outstanding recording. Now digitally remastered it is nothing short of a stunning recording fully justifying its place in this series. So if you do not have it, overcome your prejudice and buy it. You might not ‘like’ it or even ‘enjoy, it but you will appreciate the power of the performance.

Robert McKechnie

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Mood:  flirty

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Graf Peter Homonay - Hermann Prey

Conte Carnero - Wolfgang Anheisser

Sandor Barinkay - Nicolai Gedda

Kalman Szupan - Kurt Böhme

Arsena - Rita Streich

Mirabella - Gizela Litz

Ottokar - Willi Brokmeier

Czipra - Biserka Cvejiæ

Saffi - Grace Bumbry

Recording from 1969.  Orchester der Bayerischen Staatsoper.

Conductor Franz Allers.

Mood:  bright

     
      1. Das Land des Lächelns, operetta Dein ist mein ganzes Herz
     
      2. Friederike, operetta O Mädchen, mein Mädchen
     
      3. Frasquita, operetta Hab' ein blaues Himmelbett
     
      4. Das Land des Lächelns, operetta Von Apfelblüten einen Kranz
     
      5. Der Zarewitsch, operetta Wolga-Lied
     
      6. Giuditta, operetta Du bist meine Sonne
     
      7. Schön ist die Welt, operetta Schön ist die Welt
        (Bruder Leichtsinn so
     
      8. Paganini, operetta Gern hab' ich die Frau'n geküßt
     
      9. Die lustige Witwe (The Merry Widow), operetta O Vaterland -
         Da geh' ich zu Maxim
     
      10. Giuditta, operetta Freunde, das Leben ist lebenswert
     
      11. Schön ist die Welt, operetta Liebste glaub' an mich
     
      12. Das Land des Lächelns, operetta Immer nur Lächeln
            
      13. Der Graf von Luxemburg, operetta
          Mein Ahnherr war der Luxemburg

     
       Graunke Symphony Orchestra, conductor Willy Mattes

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Mood:  bright

Opera comique in 3 acts. Libretto by Eugène Scribe. First performance: Opéra-Comique, Paris, December 10, 1825.

George Brown Tenor ........ Nicolai Gedda
Jenny Soprano ............. Sofia Van Sante
Gaveston Bass ............. Guus Hoekman
Anna Soprano .............. Erna Spoorenberg
Dickson Tenor ............. Frans Vroons
Marguerite ................ Mimì Aarden
McIrton ................... Henk Driessen

Chorus & Orchestra of Radio Hilversum
Jean Fournet, conductor

Live performance, Hilversum, 25 November 1964

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Mood:  sad

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Recorded in London, September 1975

Mood:  cool

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Mood:  amorous

1. Ah talor...Verrano a te sull'aura

2. Povero Ernesto...Cercero lontana terra

3. Prendi, l'anel ti dono

4. Prendi, prendi, per me sei libero

5. Son geloso del zefiro errante

6. Tornami a dir che m'ami

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Mood:  celebratory

Disc 1
      1. Eugen Onegin: Kuda, Kuda, Kuda VI Udallis
      2. Werther: Pourqui Me Réveller
      3. Les Pécheurs des Perles: Je Crois Entrendre Encore
      4. Manon: Instand Charmant-En Fermant Les Yeux
      5. La Muette De Portici: Du Pauvre Seul Ami Fidèle
      6. Roméo et Juliette: L'amour, L'amour!
      7. La Gioconda: Cielo E Mar!
      8. Rigoletto: Ella mi Fu Rapita
      9. Martha: Ach so fromm, Ach so Traut
      10. L'elisier D'amore: Una Furtiva Lagrima
      11. La Favorita: Favorita Del Re!
      12. L'arlesiiana: E La Solita Storia
      13. Boris Gudonow: Dimitri Tsaryévivh! Dimitri!
      14. Tebyá, Tebyá Odnú, Marina
      15. O, Tsaryévich, Imolyáyu - Vivát! Vivát!
      16. Boris Gudunow: Lezuit Lukávy Krépko Zhal Menyá
      17. Die Mainacht: Kak Tikho, Kak Prokhladno
     18. Le Postillon De Longjumeau: Vänner, Jag Sjunga..
    
Disc 2
     19. Le Devine du Village: Je Vals Revoir ma Charmante
      20. Orphée et Eurydice: Quel Nouveau Ciel
      21. J'ai Perdu Mon Eurydice
     22. Don Giovanni: Dalla Sua Pace
     23. Il Mio Tesoro Intanto
     24. Die Zauberflöte: Dies Bildnis ist bezaubernd schön
      25. The Abduction From The Seraglio: Love, Only Love..
      26. Oberon: Von Jugend auf schon im Kampfgefild
      27. Vater! Hör' mich Fleh'n zu dir
      28. Alessandro Stradella: Jungfrau Maria
      29. Lohengrin: In fernem Land
      30. Mein lieber Schwan
      31. Die lustigen Weiber von Windsor: Horch, die Lerche
      32. Die Königin von Saba: Magische Töne.. .

 Disc 3   
      33. Benvenuto Cellini: Une Heure Encore.. .
      34. Lakmé: Lakmé! Lakmé! Ah! Viens Dans La..
      35. Werther: Un Autre Est Son Épouy!
      36. Le Roi D'ys: Puisqu'on ne Peut Pas Fléchir.. .
      37. Les Hugenots: Beauté Divine Enchanteresse
      38. Guillaume Tell: Asile Héréditaire - Amis, Amis..
      39. La Sonnambula: Prendi! L'anel Fi Dono
      40. Son Geloso Del Zefiro Errante
      41. Lucia Di Lammermoor: Ah! Talor Del Tuo Pensiero..
      42. Tombe Degl'avi Miel - Fr Poco a Me Ricovero
      43. Don Pasquale: Povero Ernestol - Cercherò Lontana..
      44. Tornami a dir Che M'ami
      45. Granada
      46. La Danza
      47. Berceuse
      48. Gute Nacht, mein Holdes, süßes Mädchen

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Mood:  lyrical

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Mood:  on fire

Synopsis

Place: Switzerland

Time: fourteenth century

Prior to the start of the opera, Arnold, son of the Swiss leader Melcthal, has rescued Mathilde, an Austrian princess, from drowning. In spite of the political situation, Arnold and Mathilde have fallen in love.

 Act 1

It is the day of the Shepherd Festival, in May, near Lake Lucerne. Per tradition, Melchtal blesses the couples at the celebration. However, Arnold excludes himself from this privilege, as he is torn between his love for his country and his love for Mathilde. Horn fanfares interrupt the festival, and herald the arrival of Gesler, the Austrian Governor, whom the Swiss detest. Leuthold then enters, pursued by Gesler's forces. One of Gesler's soldiers has attempted to assault Leuthold's daughter, and Leuthold killed the soldier to defend her. He wishes to escape, and the lake is the only route. William Tell offers his assistance. Gesler’s guards arrive, led by Rodolphe. Leuthold manages to escape with the help of Tell, but as reprisal, Gesler's guards take Melchtal prisoner.

Act 2

In a valley by a lake, Arnold and Mathilde meet and again pledge their love. Tell and Walter arrive, and inform Arnold that Gesler has ordered the execution of Melcthal. Arnold vows vengeance. Arnold, Tell and Walter swear an oath to liberate Switzerland. They inspire the cantons to unite in this quest.

 Act 3

At the market-place in Altdorf, the day is the hundredth anniversary of Austrian rule in Switzerland. In commemoration, Gesler has had his hat placed on top of a pole and the Swiss are ordered to pay homage to the hat. Tell arrives with his son Jemmy. Tell refuses to honour the hat. Gesler recognises Tell as the man who saved Leuthold, and wants to punish him somehow. He orders Tell to shoot an apple from Jemmy’s head, in the hope that Tell will harm his son. Tell is successful in piercing the apple, and tells Gesler that had the shot failed, he would have used his next arrow against him. Gesler orders Tell to be arrested.

Act 4

A Swiss rebel army arrives, and battle ensues. Tell kills Gesler with an arrow through the heart. The Swiss emerge victorious. Mathilde and Arnold, secure in their love, reunite at the close.

Recorded in London, 1972

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Mood:  energetic

LES HUGUENOTS Giacomo Meyerbeer (1791-1864)

Marguerite de Valois Rita Shane
Comte de Saint-Bris Dimitri Petkov
Valentine Enriqueta Tarres
Comte de Nevers Pedro Farres
Urbain Jeanette Scovotti
Cossé Kurt Equiluz
Tavannes Harald Neukirch
Thoré Ewald Aichberger
de Retz Jaroslav Stanjnc
Méru Ladislav Ilavsky
Maurevert Manfred Schenk
Raoul de Nangis Nicolai Gedda
Marcel Justino Diaz
Bois-Rosé Ewald Aichberger
Deux Demoiselles Waltrud Haas/Unni Rugtvedt
Archer Manfred Schenk
Premier moine Jaroslav Stanjc
Second moine Ladislav Ilavsky
Troisième moine Manfred Schenk

Orchestra & Chorus of the Austrian Radio
Ernst Märzendorfer Conductor
Gottfried Preinfalk Chorus Master

Broadcast February 17, 1971* Grosser Konzerthaussaal, Vienna

Mood:  mischievious

This belongs in the pantheon of great opera recordings. In 1970 when the performance was taped, Beverly Sills had only sung the role that eventually hurt her voice--Elisabetta in Donizetti's Roberto Devereux--a handful of times, and so she was at the peak of her powers. The voice never was opulent or grand, but it was all the other things we hope for in a great vocal instrument: beautiful, expressive, agile, thoroughly even from very top (E-flats and Es) to bottom, with a flawless technique, extraordinary breath control, and a capability in any dynamic range, from the quietist pianissimo to an impressive forte. These traits, coupled with a lively, curious, intelligent mind and a commitment to drama, made her the finest dramatic coloratura of the late-'60s and very early '70s (Caballé could be emotionally and vocally lazy; Sutherland's interest in drama was ancillary).

There are other very good recordings of Manon on the market: Victoria de los Angeles is glorious, Gheorghiu and Alagna on EMI are excellent, and an odd, live performance on Myto, with Giacomo Aragall and Jeanette Pilou, is a wonderful surprise, full of passion. But this one is a desert-island set: Sills is girlish and demure at first, later alluring and sure of herself, then cajoling and outright lusty in the St. Sulpice Scene, and truly tragic at the end. Her coloratura is glittering, her "Adieu" heartrending. Nicolai Gedda is a very extroverted Des Grieux, singing with big, forward tone, but also (as usual) with great sensitivity and attention to dynamics. Gérard Souzay sounds a bit long-in-the-tooth for Lescaut, but he's a very classy singer and he does get the character's smarminess across. Gabriel Bacquier is a fine, authoritative Count, and the rest of the cast is superb. All sing in excellent French. Julius Rudel leads a more-than-complete score, with an additional aria for Manon in the Cours de la Reine scene that Massenet added for another soprano, and the orchestral playing is all you'd want it to be. The sound, once glaring, is now close to perfect. This is it. [06/22/2004]

--Robert Levine, ClassicsToday.com

Manon - Beverly Sills

De Grieux - Nicolai Gedda

Comte de Grieux - Gabriel Bacquier

Lescaut - Gerard Suzay

Conductor - Julius Rudel, 1970

Mood:  on fire

Magic on all fronts is this excellent-value reissue, where Beecham’s sensuous way with the orchestra is well matched by the soloists.

As Richard Osborne points out in his brilliant, informative note, this classic Beecham set was originally welcomed in Gramophone with a glowing review from Philip Hope Wallace: ‘I send up a loud “Ole”.’ It certainly stands the test of time, sparkling, swaggering and seducing in a way that is uniquely Beecham’s. It now comes in the EMI Great Recordings of the Century series, with brightened, freshened and clarified sound. As RO points out, there were serious problems at the sessions – a second series was organised 15 months after the first (hence the two Mercedes) – but you would never realise there had been difficulties, either from the performance or the firmly focused, spacious recording in which the atmospheric off-stage effects are vividly caught.

What is so individual is the way that Beecham points rhythms to captivate the ear, as well as his persuasive moulding of phrases. I think, for example, of the sensuous way he coaxes the string phrase leading into the second half of the Don Jose/Micaela duet in Act 2, ‘Parle-moi de ma mere!’ (disc 1, track 9, 3'47''). In those qualities Beecham is delectably matched by Victoria de los Angeles in the title-role.

Richard Osborne reveals that Beecham’s original choice of heroine was the Swedish mezzo Kerstin Meyer. After all, de los Angeles – Mimi in Beecham’s Boheme recording – is hardly an obvious candidate for such a fire-eating role. But as RO points out, there is far more to Carmen than is conveyed in that conventional approach, and de los Angeles instantly establishes her as a seductive, provocative character with wickedly sparkling eyes. In her opening solo, the Habanera, her delicious downward portamento on ‘Je t’aime’ is irresistible.

The Carmen quality which de los Angeles does not have in her regular armoury, though, is a snarl. Instead she consistently uses her golden tone to tantalise and provoke, as in the magically sultry moment leading into ‘La-bas dans la montagne’ in her Act 2 duet with Jose just after the Flower song (disc 2, track 13). At that point Beecham, too, subtly pressing the music forward, is a fellow magician. Then at the very end, in Act 4, de los Angeles does finally muster a snarl in the culminating phrase ‘laisse-moi passer’ (‘Well stab me then, or let me pass’).

In a way, Nicolai Gedda’s portrait of Don Jose is just as remarkable. He was at his peak, and sings not just with refinement and imagination but with deep passion, leading one on in the widest expressive range in the Flower song. Janine Micheau makes a bright, clear Micaela, very French in tone, and Ernst Blanc, if not the most characterful Escamillo, makes the bullfighter a forthright, heroic character, singing throughout with firm, clear tone. The rest of the cast, all French, make an excellent team, as is clear in ensembles: the sparkling account of the Act 2 Quintet or the opening of the Card scene, or the swaggering march ensemble as the smugglers depart in Act 3 (disc 3, track 6). A magic set now made all the more enticing in this mid-price reissue.

-- Edward Greenfield, Gramophone [10/2000]

Recorded in Paris, September 1959

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Mood:  incredulous

This Boris Godunov was recorded in 1976, and released the following year. It is best described as the 1872 version, conflated with 1869 material that had later been removed. Thus, the Polish act dates from 1872, but the section of Pimen and Grigory’s scene that had been cut from that version is restored here. The forest scene near Kromny concludes the opera, with the Fool lamenting Russia and her people, but the scene between the Fool and the children has been repositioned earlier, before the Council of Boyars meets.

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Mood:  crushed out

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