What Opera Are You Listening to Now?

[ritter]

First listen to Wolfgang Sawallisch's 1957-8 recording of Strauss' Capriccio:



I grew up with Karl Böhm's 1971 Bavarian Radio recording on DG, with a splendid group of soloists led by the ravishing countess of Gundula Janowitz, but this première commercial recording has received great acclaim. Let's see if I can overcome my aversion to Elisabeth Schwarzkopf, whom I usually cannot stand.

From the Warner Sawallisch opera box:

[Tsaraslondon]

First listen to Wolfgang Sawallisch's 1957-8 recording of Strauss' Capriccio:



I grew up with Karl Böhm's 1971 Bavarian Radio recording on DG, with a splendid group of soloists led by the ravishing countess of Gundula Janowitz, but this première commercial recording has received great acclaim. Let's see if I come overcome my aversion to Elisabeth Schwarzkopf, whom I usually cannot stand.

From the Warner Sawallisch opera box:

For me it's the reverse. I normally can't stand Janowitz, whose disembodied purity reminds me of a theremin. 

[JBS]

Strauss here as well.


Recorded in performance April 2003.

CPO's liner notes say Clemens Krauss in preparing the world premiere made several cuts and transposed some passages downward (despite the composer's obvious objections) because Hans Hotter had trouble with the relatively high register in which Strauss wrote the role of Jupiter, and that this performance/recording was the first to present the opera as Strauss actually wrote it.

[JBS]

Back to Verdi for today's matinee


It seems whatever problems this opera has can be conveniently blamed on Schiller.

[JBS]

Decided to double dip Verdi



Despite being a DVD, this is just a concert performance. Apparently the Tutto Verdi project couldn't find even one fully staged performance.

The opera's problems are due in part to the fact that its libretto is what happens when you ask an Italian 19th century theater poet to adapt what sounds like a rather pedestrian play by Voltaire.


ETA: now at the start of the final act (which is Act 2 or Act 3, depending on whether you call the opening scene Prologue or Act 1. Verdi apparently called it Act 1, but the librettist didn't. The DVD follows the composer in the track listings and the librettist in the titles shown onscreen.)

As far as the music is concerned, there is plenty of oompahpah Verdi, but also a fair amount of creative Verdi. The duets and the ensemble that ends Act 2 (as Verdi counted it) are fairly good, and at least a couple of the arias could work well in recitals.
Overall, if Verdi's other operas from the mid 1840s (Alzira sits between Giovanna d'Arco and Attila in order of composition) don't deserve obscurity, neither does this one.

The librettist btw was Salvatore Cammarano, who would three more for Verdi: La Battaglia di Legnano, Luisa Miller, and Il Trovatore.

[Tsaraslondon]

Decided to double dip Verdi



Despite being a DVD, this is just a concert performance. Apparently the Tutto Verdi project couldn't find even one fully staged performance.

The opera's problems are due in part to the fact that its libretto is what happens when you ask an Italian 19th century theater poet to adapt what sounds like a rather pedestrian play by Voltaire.


ETA: now at the start of the final act (which is Act 2 or Act 3, depending on whether you call the opening scene Prologue or Act 1. Verdi apparently called it Act 1, but the librettist didn't. The DVD follows the composer in the track listings and the librettist in the titles shown onscreen.)

As far as the music is concerned, there is plenty of oompahpah Verdi, but also a fair amount of creative Verdi. The duets and the ensemble that ends Act 2 (as Verdi counted it) are fairly good, and at least a couple of the arias could work well in recitals.
Overall, if Verdi's other operas from the mid 1840s (Alzira sits between Giovanna d'Arco and Attila in order of composition) don't deserve obscurity, neither does this one.

The librettist btw was Salvatore Cammarano, who would three more for Verdi: La Battaglia di Legnano, Luisa Miller, and Il Trovatore.

It's often considered the ugly duckling of Verdi's galley operas, but it definitely has its moments. I have the Gardelli recording with Cotrubas as Alzira.

[André]

For me it's the reverse. I normally can't stand Janowitz, whose disembodied purity reminds me of a theremin. 

Schwarzkopf and Janowitz had very straight, pure, almost 'white' voices with a tight vibrato. Janowitz sometimes sounded like when you circle your index finger around a crystal glass' rim. The most extreme such voice I've heard was Teresa Stich-Randall's. I mut say I love that kind of sound. But the very best whitish voice that managed to sound fleshy, appropriately voluminous when required was Margaret Price's.

[André]

'Drame lyrique'. Aka opera. But in effect it's a quasi-oratorio. A bit like the equally good (great) Maria Egiziaca by Respighi.

This is the 1952 french premiere performance recording, with the composer at the helm and the Opéra Garnier's First Tenor for dramatic roles, Raoul Jobin. The sound is quite good for such an ancient vintage. No allocations need be made for clarity, dynamic range and presence. It's just good old mono, less boomy than RCA's contemporary offerings, just a tad edgier than RCA/Decca productions.

From this opera the composer culled music that was reshaped into his most famous work, the Fanfares liturgiques. Based on a play by French poet Oscar Milosz, Tomasi's Don Juan de Mañara is set in 17th-century Seville, Spain. The story is inspired by the biography of Don Miguel Mañara Vincentelo de Leca, who, through the innocence, purity and love of a woman named Girolama, turns away from a life of depravity to marry her. Shortly after their marriage, Girolama dies, and Miguel becomes a monk, devoting his life to charity and good works.

For a time Mañara was widely thought to be the inspiration for Tirso de Molina's play Don Juan (and its innumerable avatars and literary/musical incarnations). He seems to have particularly fascinated French writers (the French seem to have a thing for the combination of sensuality and repentance): Prosper Mérimée (Carmen), Théophile Gautier (countless texts set in music by Berlioz, Bizet, Debussy etc etc), Alexandre Dumas père, Guillaume Apollinaire etc. IOW he seems to have had quite an influence.

Tomasi's work is extremely well laid out. We get 3 Parts containing Tableaux, short orchestral interludes and the like. There is variety, conciseness when needed, expansion and powerful theatrical expression to underline Mañara's psychological transformation and fateful encounters, etc. The orchestration is brilliant, the vocal lines well tailored to the text (no unintelligible warbling). Like Respighi's Maria Egiziaca the final Epiphany comes as a culmination while paradoxically ending gently (because, you know, death). It's all over in 90 minutes.

The double CD album also has an interesting work of Tomasi's titled 'Triomphe de Jeanne'. The Jeanne in question is of course France's national heroine and patron saint, Joan of Arc. The work is not about Jeanne's trial, burning and death in 1431 but about her political and religious rehabilitation in 1455. The work was composed to commemorate the 500th anniversary of that event, where all accusations against her and the conclusion of her trial were officially (by Royal edict) overturned and declared null and void. There is a nice, juicy solo for a dramatic soprano (The Mother, not Jeanne) sung here by the redoubtable Rita Gorr. The Belgian mezzo was the possessor of one of the most voluminous and trenchant vocal cords in the last century as well as a formidable dramatic actress. Her contribution is the highlight of this short (23 mins) oratorio. A fine filler to the main offering.

Available on YouTube and streaming platforms.

 

[San Antone]

VERDI : FALSTAFF
Sir Colin Davis, Bavarian Radio Chorus, Bavarian Radio Symphony Orchestra
Marilyn Horne, Rolando Panerai, Alan Titus, Frank Lapardo, Sharon Sweet

[Lisztianwagner]

Wolfgang Amadeus Mozart
Die Entführung aus dem Serail

Arleen Augér (Konstanze), Reri Grist (Blonde), Peter Schreier (Belmonte), Kurt Moll (Osmin), Harald Neukirch (Pedrillo), Otto Mellies (Bassa Selim)
Karl Böhm & Staatskapelle Dresden

[pjme]

From this opera the composer culled music that was reshaped into his most famous work, the Fanfares liturgiques

The last fanfare (Procession du Vendredi Saint) exists also as a work for soprano, chorus and brass/percussion: Procession nocturne.
As far as I understand, it is the 3rd scene from act 2 in the opera -albeit scored only with brass/perc.
i find it quite moving, inspite of being rather dated & melodramatic in its reach for lofty religiosity....

Act I

[JBS]

[JBS]

Staying in Tudor England but from a different POV


Karajan conducting Verdi's Falstaff at the Salzburg Festival in August 1957. The cast in this mono recording is almost exactly the same as that in Karajan's EMI recording, with exceptions of Pistol, Mrs Quickly, and Mrs Page.

ETA: the sound on these "Festspiel Dokumente" from the 1950s severely undercuts their quality.
A lot of muffled voices on this one.

[hopefullytrusting]

Handel's Acis and Galatea: https://www.youtube.com/watch?v=8zNxWvQXJpY (Semeradova conducts the Collegium Marianum)

This look so cool:



"A very cute, semi-puppet, even childish, but the best, in my humble opinion, performance of this opera."

[Todd]

Well, hot dog, we have a wiener!

Never let it be said that great opera recordings no longer get made.  This lopsided recording is as good as any Dutchman I've heard, which admittedly is not all of them.  The orchestra and chorus are both practiced to the point of perfection.  The performance is swift and dramatic and clear as Lalique crystal, as is the recording.  Finley makes a fine title character.  Gardner stick waves with the best of them.

But let's be serious, this is all about Davidsen.    She totally dominates the show.   It ain't even close.  The most immediate comparison that popped into my mind is not a recording, but rather the Donald Runnicles led Les Troyens I attended in San Fran a decade ago.  There, Susan Graham sang Dido at a level several rungs above everyone around her.  This is like that.  Davidsen's singing is a model of theatrical perfection.  I've read that she is the first soprano since Nilsson who can sing with such power that she is too much for the Met.  I can neither confirm nor deny that, but I can't say that I would be surprised were it true.  A big, ol' honkin' voice, perfectly controlled, and capable of cutting through the band and conveying delicacy is a thing to marvel at, and Davidsen is entirely marvelous. 

She's already recorded Agathe, so now I will have to hear that.  Beyond that, she must sing Salome, Elektra, Brünnhilde, and, obviously, Isolde.  Which she will be doing for lucky listeners in Spain next year.  I'm hyperventilating as I type this at the mere thought.  Producers and music directors need to fly her private to any destination she demands, and put her up in the poshest hotels, with the finest servants to attend to her every whim.  She and Gardner, and other stick wavers, can lay down contemporary references of core rep.  But I gush. 

[JBS]

Well, hot dog, we have a wiener!

Never let it be said that great opera recordings no longer get made.  This lopsided recording is as good as any Dutchman I've heard, which admittedly is not all of them.  The orchestra and chorus are both practiced to the point of perfection.  The performance is swift and dramatic and clear as Lalique crystal, as is the recording.  Finley makes a fine title character.  Gardner stick waves with the best of them.

But let's be serious, this is all about Davidsen.    She totally dominates the show.   It ain't even close.  The most immediate comparison that popped into my mind is not a recording, but rather the Donald Runnicles led Les Troyens I attended in San Fran a decade ago.  There, Susan Graham sang Dido at a level several rungs above everyone around her.  This is like that.  Davidsen's singing is a model of theatrical perfection.  I've read that she is the first soprano since Nilsson who can sing with such power that she is too much for the Met.  I can neither confirm nor deny that, but I can't say that I would be surprised were it true.  A big, ol' honkin' voice, perfectly controlled, and capable of cutting through the band and conveying delicacy is a thing to marvel at, and Davidsen is entirely marvelous. 

She's already recorded Agathe, so now I will have to hear that.  Beyond that, she must sing Salome, Elektra, Brünnhilde, and, obviously, Isolde.  Which she will be doing for lucky listeners in Spain next year.  I'm hyperventilating as I type this at the mere thought.  Producers and music directors need to fly her private to any destination she demands, and put her up in the poshest hotels, with the finest servants to attend to her every whim.  She and Gardner, and other stick wavers, can lay down contemporary references of core rep.  But I gush. 

Also a Fidelio on video, and a Grieg song recital, and 2 recital discs that include the 4 Last Songs and Wesendonck Lieder. And if you want to start your Christmas shopping early, a CD of Norwegian noels.

[I realize you probably know all that, but others likely don't.]

[Wendell_E]

Beyond that, [Lise Davidsen] must sing Salome, Elektra, Brünnhilde, and, obviously, Isolde.  Which she will be doing for lucky listeners in Spain next year.

She'll also be singing Isolde at the Met, with a Live in HD scheduled for March 21st.

Today's watching:



I liked it a lot, I wish the opera were done more often. Nucci's amazing, especially given that he was 67 at the time. I didn't even mind (much) that he totally breaks character to acknowledge the applause after his big scene in the last act.

[Kalevala]

Well, hot dog, we have a wiener!

Never let it be said that great opera recordings no longer get made.  This lopsided recording is as good as any Dutchman I've heard, which admittedly is not all of them.  The orchestra and chorus are both practiced to the point of perfection.  The performance is swift and dramatic and clear as Lalique crystal, as is the recording.  Finley makes a fine title character.  Gardner stick waves with the best of them.

But let's be serious, this is all about Davidsen.    She totally dominates the show.  It ain't even close.  The most immediate comparison that popped into my mind is not a recording, but rather the Donald Runnicles led Les Troyens I attended in San Fran a decade ago.  There, Susan Graham sang Dido at a level several rungs above everyone around her.  This is like that.  Davidsen's singing is a model of theatrical perfection.  I've read that she is the first soprano since Nilsson who can sing with such power that she is too much for the Met.  I can neither confirm nor deny that, but I can't say that I would be surprised were it true.  A big, ol' honkin' voice, perfectly controlled, and capable of cutting through the band and conveying delicacy is a thing to marvel at, and Davidsen is entirely marvelous. 

She's already recorded Agathe, so now I will have to hear that.  Beyond that, she must sing Salome, Elektra, Brünnhilde, and, obviously, Isolde.  Which she will be doing for lucky listeners in Spain next year.  I'm hyperventilating as I type this at the mere thought.  Producers and music directors need to fly her private to any destination she demands, and put her up in the poshest hotels, with the finest servants to attend to her every whim.  She and Gardner, and other stick wavers, can lay down contemporary references of core rep.  But I gush. 

Also a Fidelio on video, and a Grieg song recital, and 2 recital discs that include the 4 Last Songs and Wesendonck Lieder. And if you want to start your Christmas shopping early, a CD of Norwegian noels.

[I realize you probably know all that, but others likely don't.]

O.k., so I haven't heard of her before now, but she's now on my radar!  Will see what I can find.  If I'm recalling correctly, I have one or two recordings with Finley (which I believe I enjoyed)...will have to dig further. 

K

[JBS]

Starting this tonight

With what Bellini started off with


A live recording from Catania in 1992. Mike placement was not great, with the result that any singer not close to the front of the stage gets badly muffled. Two other recordings in this set came from the same theater, which does not augur well.

If you're wondering how ten operas with 2 CDs worth of music each work out to 25 CDs, it's because there are two extra recordings: Callas in La Sonnambula under Bernstein and Caballe in a radio broadcast of Norma under Pretre, plus a CD-ROM of librettos.

Musically it might be called 2nd rate Rossini, especially the part of the basso buffo servant.

ETA: there's an aria in the first act for the soprano (Nelly) that's not great Bellini, but certainly is more than just an imitation of another composer. Same applies to the duet with the tenor that follows.

[Florestan]

Try this one, much better sound:



and Muraro sings the basso buffo role in the original Neapolitan, which IIRC is not the case of the Licata recording.