What Opera Are You Listening to Now?

[ritter]

Revisiting Messiaen's Saint-François d'Assise (Act I today). The recording with the cast of the world première; Seiji Ozawa conducts the forces of the Paris Opéra, with José van Dam, Christiane Eda-Pierre, Kenneth Riegel et al.

[Mirror Image]

Revisiting Messiaen's Saint-François d'Assise (Act I today). The recording with the cast of the world première; Seiji Ozawa conducts the forces of the Paris Opéra, with José van Dam, Christiane Eda-Pierre, Kenneth Riegel et al.

And what are your impressions of this Messiaen work, Rafael?

[ritter]

And what are your impressions of this Messiaen work, Rafael?

Well, I must admit I really enjoyed it this time.

I'm not a great fan of Messiaen's large orchestral works, but in this, his most mastodonic piece, probably (nay, surely) out of respect for the subject matter, the composer seems to me to have reined in some of the excesses (which so easily return into kitsch) of other pieces, and produced something noble without renouncing to the things (e.g. birdsong) so dear to him and that make his such a unique voice.

I stupidly missed the opportunity, some 10 years ago,  to see Saint-François d'Assise fully staged here in Madrid by the Teatro Real (but in a sports arena, not the opera house), conducted by Sylvain Cambreling. It would have been great to see what impact it makes in live performance, and I don't expect the opportunity to present itself again anytime soon. 

[Mirror Image]

Well, I must admit I really enjoyed it this time.

I'm not a great fan of Messiaen's large orchestral works, but in this, his most mastodonic piece, probably (nay, surely) out of respect for the subject matter, the composer seems to me to have reined in some of the excesses (which so easily return into kitsch) of other pieces, and produced something noble without renouncing to the things (e.g. birdsong) so dear to him and that make his such a unique voice.

I stupidly missed the opportunity, some 10 years ago,  to see Saint-François d'Assise fully staged here in Madrid by the Teatro Real (but in a sports arena, not the opera house), conducted by Sylvain Cambreling. It would have been great to see what impact it makes in live performance, and I don't expect the opportunity to present itself again anytime soon. 

Thanks for the feedback. Like you, I'm not a big fan of Messiaen either, but yet, I have a large collection of his music including this Ozawa recording which I've never listened to before.   

[Tsaraslondon]

I prefer a slightly fuller voice for Konstanze than Erika Köth, who sounds more like a Blonde to me, but this recording has the peerless Wunderlich as Belmonte and is worth having for him alone. All in all, though, this is a pretty good Entführung.

[Uhor]

Toshio Hosokawa's Hanjo: https://youtu.be/ngsrcev7lcU

[Wendell_E]

The Vienna State Opera Peter Grimes from Jan. 29th, with Jonas Kaufmann, Lise Davidsen, and Bryn Terfel, Simone Young conducting. Available (for now) at: https://oe1.orf.at/player/20220129/666550

[Tsaraslondon]

If not quite the classic Giulini's contemporaneous Don Giovanni is, this is still a very good Figaro with some outstanding singing from a very fine cast.

[André]

A musically superb Lohengrin. Fantastic Bayreuth Chorus, great performances from all the principals (Georg Zeppenfeld's King Henry steals the vocal honors), and a provocative direction from Hans Neuenfels. It's the first time I find unalloyed enjoyment in Andris Nelson's conducting.

[Mirror Image]

Cross-post from the "Listening" thread -

Now playing the Prologue and Act I from the following:

Repsighi
Belfagor
Sylvia Sass, Magda Kalmár, Klára Takács, et. al
Hungarian Radio and Television Chorus
Hungarian State Orchestra
Lamberto Gardelli

Hugely atmospheric and the writing for voices is exquisite. I haven't finished the opera yet, but definitely looking forward to hearing the rest of it. I need to read the synopsis of this opera so I can have a better idea of what exactly is happening on the stage as the opera progresses. Superbly performed --- Sylvia Sass sounds wonderful and Lamberto Gardelli displays a sympathetic ear for this music.

[André]

Der Rosenkavalier in the Karajan/Legge recording.

EMI had its A team of engineers record the mono version and its B team set the mics (differently of course) for the stereo one. Schwarzkopf herself preferred the mono sound recording. This cheapo edition manages to give us acts I and III in stereo and Act II in mono. Strange, but valuable to assess the differences. The stereo edition was a timid attempt at the new medium in terms of directionality and frequency range. Decca was much more advanced in 1956 although in retrospect their soundstage was often loud and crudely lit. Maybe EMI was right in not going for effects for effects' sake. What's important is that the sound is clear, unfuzzy and with a reasonable dynamic range.

Be that as it may, this version is famous for its musical values, and rightly so. The stars of the recording IMO are Karajan and the orchestra. Vocally the honours tilt in favour of the women. All three principals have beautiful, easily produced tones, with outstanding beauty in the upper range. Stich-Randall often sounds all but inaudible in the conversational episodes, but she cleverly plays the card of the timid, intimidated young girl. Her famed high notes in the more emotional outpourings are drop-dead stunning. Ludwig is very fine, but I sometimes wished her tones sounded more masculine (like Baltsa in the DGG Karajan recording). Schwarzkopf is perfect in all respects. This is possibly her best operatic assumption on record. Most of the time I find I hear Schwarzkopf singing such and such character. Here she is the Marschallin.

The male roles are very well sung/acted overall. Faninal could have a more distinctive voice (Wächter), and Edelmann's Ochs a more resonant low register, but overall they do very well. Gedda's singer is surprisingly nondescript. What might have been a fine piece of casting turns out a missed opportunity. While this recording belongs in every collection, it should not be the only Rosenkavalier on one's shelves.

My preference is still for Karajan's DGG set. It is sumptuously played and conducted and this time around Karajan seems to give the romantic side of the story the edge over the comic aspects. Janet Perry doesn't match Stich-Randall's phosphorescent pianissimo high notes (no other soprano does) but she is credible dramatically and vocally. Tomowa-Sintow is almost as good as Schwarzkopf, her voice luscious and luminous - no beat or quaver. Baltsa is ideal as Octavian and Kurt Moll is easily the most rotund and resonant bass to have sung Ochs. The overall tonal balance (orchestra and voices) sounds a bit darker, rounder, plusher - slightly easier on the ear.

[ritter]

Der Rosenkavalier in the Karajan/Legge recording.

EMI had its A team of engineers record the mono version and its B team set the mics (differently of course) for the stereo one. Schwarzkopf herself preferred the mono sound recording. This cheapo edition manages to give us acts I and III in stereo and Act II in mono. Strange, but valuable to assess the differences. The stereo edition was a timid attempt at the new medium in terms of directionality and frequency range. Decca was much more advanced in 1956 although in retrospect their soundstage was often loud and crudely lit. Maybe EMI was right in not going for effects for effects' sake. What's important is that the sound is clear, unfuzzy and with a reasonable dynamic range.

Be that as it may, this version is famous for its musical values, and rightly so. The stars of the recording IMO are Karajan and the orchestra. Vocally the honours tilt in favour of the women. All three principals have beautiful, easily produced tones, with outstanding beauty in the upper range. Stich-Randall often sounds all but inaudible in the conversational episodes, but she cleverly plays the card of the timid, intimidated young girl. Her famed high notes in the more emotional outpourings are drop-dead stunning. Ludwig is very fine, but I sometimes wished her tones sounded more masculine (like Fassbaender in the DGG Karajan recording). Schwarzkopf is perfect in all respects. This is possibly her best operatic assumption on record. Most of the time I find I hear Schwarzkopf singing such and such character. Here she is the Marschallin.

The male roles are very well sung/acted overall. Faninal could have a more distinctive voice (Wächter), and Edelmann's Ochs a more resonant low register, but overall they do very well. Gedda's singer is surprisingly nondescript. What might have been a fine piece of casting turns out a missed opportunity. While this recording belongs in every collection, it should not be the only Rosenkavalier on one's shelves.

My preference is still for Karajan's DGG set. It is sumptuously played and conducted and this time around Karajan seems to give the romantic side of the story the edge over the comic aspects. Janet Perry doesn't match Stich-Randall's phosphorescent pianissimo high notes (no other soprano does) but she is credible dramatically and vocally. Tomowa-Sintow is almost as good as Schwarzkopf, her voice luscious and luminous - no beat or quaver. Fassbaender is ideal as Octavian and Kurt Moll is easily the most rotund and resonant bass to have sung Ochs. The overall tonal balance (orchestra and voices) sounds a bit darker, rounder, plusher - slightly easier on the ear.

Nice review, André. Thanks!

Much as I love Der Rosenkavalier, I must admit I don't have this recording, as Schwarzkopf is a bit of a bête noire for me. Reading your assessment, I'm tempted by this cheapo set, and perhaps my appreciation of Schwarzkopf may change (for the better). And Stich-Randall is one of my favourite singers ever, so... 

I used to have the later DG with Karajan on LP, and remember it being sumptuous. But one small thing: Fassbaender doesn't appear on that set, the Octavian there is Agnes Baltsa.

What I do have is the live Karajan from Salzburg (in one of DG's festival anniversary boxes). The Marschallin is Lisa della Casa (another favourite).

Good evening to you!

[André]

Nice review, André. Thanks!

Much as I love Der Rosenkavalier, I must admit I don't have this recording, as Schwarzkopf is a bit of a bête noire for me. Reading your assessment, I'm tempted by this cheapo set, and perhaps my appreciation of Schwarzkopf may change (for the better). And [ ::)b]Stich-Randall [/b]is one of my favourite singers ever, so... 

I used to have the later DG with Karajan on LP, and remember it being sumptuous. But one small thing: Fassbaender doesn't appear on that set, the Octavian there is Agnes Baltsa.

What I do have is the live Karajan from Salzburg (in one of DG's festival anniversary boxes). The Marschallin is Lisa della Casa (another favourite).

Good evening to you!

Silly me ! Not the first time I take Baltsa for Fassbaender... I've made the correction .

And good evening to you too, Rafael 

[Mirror Image]

Der Rosenkavalier in the Karajan/Legge recording.

EMI had its A team of engineers record the mono version and its B team set the mics (differently of course) for the stereo one. Schwarzkopf herself preferred the mono sound recording. This cheapo edition manages to give us acts I and III in stereo and Act II in mono. Strange, but valuable to assess the differences. The stereo edition was a timid attempt at the new medium in terms of directionality and frequency range. Decca was much more advanced in 1956 although in retrospect their soundstage was often loud and crudely lit. Maybe EMI was right in not going for effects for effects' sake. What's important is that the sound is clear, unfuzzy and with a reasonable dynamic range.

Be that as it may, this version is famous for its musical values, and rightly so. The stars of the recording IMO are Karajan and the orchestra. Vocally the honours tilt in favour of the women. All three principals have beautiful, easily produced tones, with outstanding beauty in the upper range. Stich-Randall often sounds all but inaudible in the conversational episodes, but she cleverly plays the card of the timid, intimidated young girl. Her famed high notes in the more emotional outpourings are drop-dead stunning. Ludwig is very fine, but I sometimes wished her tones sounded more masculine (like Baltsa in the DGG Karajan recording). Schwarzkopf is perfect in all respects. This is possibly her best operatic assumption on record. Most of the time I find I hear Schwarzkopf singing such and such character. Here she is the Marschallin.

The male roles are very well sung/acted overall. Faninal could have a more distinctive voice (Wächter), and Edelmann's Ochs a more resonant low register, but overall they do very well. Gedda's singer is surprisingly nondescript. What might have been a fine piece of casting turns out a missed opportunity. While this recording belongs in every collection, it should not be the only Rosenkavalier on one's shelves.

My preference is still for Karajan's DGG set. It is sumptuously played and conducted and this time around Karajan seems to give the romantic side of the story the edge over the comic aspects. Janet Perry doesn't match Stich-Randall's phosphorescent pianissimo high notes (no other soprano does) but she is credible dramatically and vocally. Tomowa-Sintow is almost as good as Schwarzkopf, her voice luscious and luminous - no beat or quaver. Baltsa is ideal as Octavian and Kurt Moll is easily the most rotund and resonant bass to have sung Ochs. The overall tonal balance (orchestra and voices) sounds a bit darker, rounder, plusher - slightly easier on the ear.

Excellent. Thanks for the detailed write-up, Andre. These are the two Karajan-led Der Rosenkavalier recordings I own:





I liked the EMI recording (w/ Schwarzkopf, Ludwig et. al.), but I haven't heard the DG recording (w/ Della Casa et. al.). I can't seem to get Bernstein's scorching performance on Sony out of my head and his is the one I reach for when I want to listen to this opera, which is, no doubt, my favorite Strauss opera (runner-ups are Daphne, Elektra and Salome).

[Tsaraslondon]

Excellent. Thanks for the detailed write-up, Andre. These are the two Karajan-led Der Rosenkavalier recordings I own:






I liked the EMI recording (w/ Schwarzkopf, Ludwig et. al.), but I haven't heard the DG recording (w/ Della Casa et. al.). I can't seem to get Bernstein's scorching performance on Sony out of my head and his is the one I reach for when I want to listen to this opera, which is, no doubt, my favorite Strauss opera (runner-ups are Daphne, Elektra and Salome).

The above Warner remastering, done by Christopher Bishop, the producer of the original stereo version, is amazing and a good deal better than any other I've heard. He corrects the balance in the trio and it makes a huge difference.

The one with Della Casa is live of course, but I haven't heard it so I've no idea what te sound is like.

[Tsaraslondon]

Wunderlich's peerless Tamino might be the main reason for hearing this set, but it has many other virtues too and I honestly think the rest of the cast are better than is often made out. I believe Fischer-Dieskau never played Papageno on stage, but on disc he is excellent and Franz Crass is a superb Sarastro. Roberta Peters can be a little shrill as the Queen, but at least she sounds dangerous and, whilst Evelyn Lear does not command the beauty of tone of a Te Kanawa or Margaret Price, she is a good deal better than she is often given credit for.

In any case, the set is a must for Wunderlich, who has never been bettered in the role since.

[Mirror Image]

The above Warner remastering, done by Christopher Bishop, the producer of the original stereo version, is amazing and a good deal better than any other I've heard. He corrects the balance in the trio and it makes a huge difference.

The one with Della Casa is live of course, but I haven't heard it so I've no idea what te sound is like.

I haven't heard any of the previous remasterings, but this one does sound quite good, indeed.

[ritter]

First listen to this new arrival (highly recommended here on GMG —hat tip to Mirror Image— and elsewhere):



Only Acts I and II today, but this is certainly a superb recording of Pelléas et Mélisande! Serge Baudo paces the score masterfully, making it sound simultaneously intimate and menacing, and the degree of detail of Debussy's wonderful orchestration that can be heard is a revelation. The singing is of an excellent level too, with very clear diction by all involved (one can understand every word). Among the soloists, I'd single out Gabriel Bacquier as Golaud. He really is among the very best I've heard in this central rôle (the work could have easily been titled "Golaud" instead of P&M  ).

Very, very good!

[Florestan]

Mittor Image

Who? 

Buenas tardes, don Rafael!

[ritter]

Who? 

Buenas tardes, don Rafael!

Thanks, Andrei!

Bună seara...