YMMV what counts as underrated.
German Opera:
Weber: Euryanthe
Schumann: Genoveva
Wagner: Rienzi
R. Strauss: Die Liebe der Danae
Italian opera:
Haydn: Lo speziale
Verdi: Simon Boccanegra
Puccini: La fanciulla del West
French opera:
Berlioz: Benvenuto Cellini
Debussy: Pelléas et Mélisande
Massenet: Thaïs
Saint-Saëns: Le timbre d'argent
Saint-Saëns: La princesse jaune
Russian opera:
Rachmaninoff: The Miserly Knight
Tchaikovsky: Cherevichki (Vakula the smith)
Rimsky-Korsakov: Golden Cockerel
Rimsky-Korsakov: Sadko
Rimsky-Korsakov: Snow Maiden
Rimsky-Korsakov: The Invisible City of Kitezh
Hungarian opera:
Bartók: Bluebeard's Castle
Swedish opera:
Sibelius: Jungfrun i tornet
Top 3 otomh:
Haydn - La fedeltà premiata (imho, the first belcanto opera, way ahead of its time)
Rossini - Il viaggio a Reims (gorgeous tune upon gorgeous tune; after TBoS, my favorite Rossini opera)
Bizet - Les pêcheurs de perles (not as good as Carmen but quite close)
Three more otomh:
Federico Ricci - La prigione di Edimburgo
Grétry - La caravane du Caire
Boieldieu - La dame blanche
Easy: all of Prokofiev's, which sit at the top of his output, quality-wise.
Next, of course: Martinu's output.
The first one that comes to mind is Enescu's Oedipe.
One of the masterpieces of the 20th century, very seldom performed and recorded.
Quote from: GioCar on September 15, 2018, 11:32:00 PM
The first one that comes to mind is Enescu's Oedipe.
One of the masterpieces of the 20th century, very seldom performed and recorded.
Fully agreed. A noble and beautiful work.
I'd also mention
Busoni's
Doktor Faust.
Quote from: Alberich on September 15, 2018, 11:19:03 AM
YMMV what counts as underrated.
German Opera:
Weber: Euryanthe
Schumann: Genoveva
Wagner: Rienzi
R. Strauss: Die Liebe der Danae
Italian opera:
Haydn: Lo speziale
Verdi: Simon Boccanegra
Puccini: La fanciulla del West
French opera:
Berlioz: Benvenuto Cellini
Debussy: Pelléas et Mélisande
Massenet: Thaïs
Saint-Saëns: Le timbre d'argent
Saint-Saëns: La princesse jaune
Russian opera:
Rachmaninoff: The Miserly Knight
Tchaikovsky: Cherevichki (Vakula the smith)
Rimsky-Korsakov: Golden Cockerel
Rimsky-Korsakov: Sadko
Rimsky-Korsakov: Snow Maiden
Rimsky-Korsakov: The Invisible City of Kitezh
Hungarian opera:
Bartók: Bluebeard's Castle
Swedish opera:
Sibelius: Jungfrun i tornet
I ask, underrated by who and where? Some of these seem very well establised indeed. Pelleas, Boccenegra, Bluebeard. Others are very well appreciated in specific places. The Rimsky operas are often performed in Russia. In other parts of the world, I agree, they need more exposure. The Puccini and Cellini also do get regular performances.
Thais for example, has simply gone out of fashion. Having seen it, I am not surprised. The middle act is very good though.
The Sibelius is a Finnish opera, not Swedish. Sibelius was of Western Finnish stock, more dominated by Swedish culture than Eastern Finland. Swedish was his first language, but he considered himself very much a Finn. He was deeply involved with the Finnish Romantic movement, which was engaged in exploring a Finnish identity for its new nation as it emerged from the Swedish influences.
Mike
Quote from: knight66 on September 17, 2018, 09:29:33 AM
The Sibelius is a Finnish opera, not Swedish. Sibelius was of Western Finnish stock, more dominated by Swedish culture than Eastern Finland. Swedish was his first language, but he considered himself very much a Finn. He was deeply involved with the Finnish Romantic movement, which was engaged in exploring a Finnish identity for its new nation as it emerged from the Swedish influences.
Mike
Jungfrun i tornet has a Swedish libretto, though, so it's a 'Swedish opera' in the same sense that the
Haydn is an Italian opera. Which is surely what my compatriot meant. ;)
Quote from: North Star on September 17, 2018, 01:59:42 PM
Jungfrun i tornet has a Swedish libretto, though, so it's a 'Swedish opera' in the same sense that the Haydn is an Italian opera. Which is surely what my compatriot meant. ;)
Well, I am sure you should know better than I do. My opinion remains that what I learned about Sibelius and his sense of identity, he regarded himself as a patriotic Finn and although he used Swedish.....but anyway, I already said what I thought.
Mike
Some consider Pelléas one of the most overrated operas in history :laugh:.
Underrated german operas: all of Hindemith's works for the stage. He wrote a few big ones, Mathis der Maler, Cardillac, but also a few short one acters. I have some of those and they are terrific.
Quote from: knight66 on September 17, 2018, 09:29:33 AM
Thais for example, has simply gone out of fashion. Having seen it, I am not surprised. The middle act is very good though.
Mike
Not true. Thais has been performed several times here in Finland during the last few years. That being said, I still consider it underrated and expressing one's own opinion about underrated operas is what I'm seeking here. As I said, YMMV what counts as underrated.
Quote from: Alberich on September 17, 2018, 10:29:47 PM
Not true. Thais has been performed several times here in Finland during the last few years. That being said, I still consider it underrated and expressing one's own opinion about underrated operas is what I'm seeking here. As I said, YMMV what counts as underrated.
As I wrote, it depends where you are as to what is popular.
http://operabase.com/top.cgi?lang=en&break=0&show=opera&no=500&nat=
Thais comes in at number 233 with 65 performances worldwide in 17/18. That is one third what Manon got. Thais received over 4000 fewer performances than Traviata. And it is on your neglected operas list. It was once popular, but is not much done now. I made that remark because the piece is distinguished from some other neglected operas which have never been popular.
Mike
Weber's Oberon is almost as obscure as Euryanthe. Both are musically wonderful but dramatically problematic (i.e. lame ;)) There is a whole bunch of German and French romantic (often "light" or comique) operas that used to be fairly popular until the 1950s and 60s but have almost vanished into obscurity since then. Sometimes a few numbers survive in recitals.
German
Flotow: "Martha",
Lortzing: "Zar und Zimmermann", "Undine" and "Der Wildschütz",
Nicolai: "Die lustigen Weiber von Windsor",
Cornelius: "Der Barbier von Bagdad"
French:
Auber: Fra Diavolo
Boieldieu: La dame blanche
Adam: Le Postillon de Longjumeau
Quote from: André on September 17, 2018, 04:59:39 PM
Underrated German operas: all of Hindemith's works for the stage. He wrote a few big ones, Mathis der Maler, Cardillac, but also a few short one acters. I have some of those and they are terrific.
Murderer, The Hope of Women is Expressionist opera at its best, and today about as politically incorrect as you can get! 8)
Hindemith in the WW I era and afterward is the musical ancestor of
Karl Amadeus Hartmann .
Cardillac is amazing! The old
Dietrich Fischer-Dieskau recording is not to be missed!
Quote from: Cato on October 02, 2018, 08:21:14 AM
Murderer, The Hope of Women is Expressionist opera at its best, and today about as politically incorrect as you can get! 8) Hindemith in the WW I era and afterward is the musical ancestor of Karl Amadeus Hartmann .
Cardillac is amazing! The old Dietrich Fischer-Dieskau recording is not to be missed!
I had ordered Cardillac a few weeks agos at JPC, but for some reason that item was cancelled. I put it again in my cart today, as it's still on their web site. Hopefully I'll receive it in a few weeks !
Quote from: Jo498 on October 02, 2018, 06:21:04 AM
Nicolai: "Die lustigen Weiber von Windsor",
Also an example of an orchestral overture which has gone from pops staple to definitely not so pops.
Fortunately, Carlos Kleiber has a wonderful interpretation of this ouverture in one of his New Year's Day concerts. But you are certainly correct. Another ouverture that used to be a pops staple is Reznicek's "Donna Diana" although unlike the Nicolai I believe that in the latter case the ouverture has outshone the opera since forever.
Quote from: Alberich on September 15, 2018, 11:19:03 AM
YMMV what counts as underrated.
German Opera:
Weber: Euryanthe
At least the overture gets played often enough, which should prompt some curiosity as to the rest of the opera.
Quote from: zamyrabyrd on October 06, 2018, 11:24:38 PM
At least the overture gets played often enough, which should prompt some curiosity as to the rest of the opera.
But it doesn't necessarily. There are plenty of ouvertures (and occasionally arias) that have remained quite popular despite the opera having fallen into semi-obscurity, e.g. many of Rossini's and almost all of Suppé's operettas.
Quote from: zamyrabyrd on October 06, 2018, 11:24:38 PM
At least the overture gets played often enough, which should prompt some curiosity as to the rest of the opera.
Their is plenty in
Euryanthe and
Oberon to reward curiosity but both are hamstrung by ridiculous and/or feeble libretti which prevents them being staged. They are ideal for home listening though.
Quote from: Biffo on October 07, 2018, 01:03:05 AM
Their is plenty in Euryanthe and Oberon to reward curiosity but both are hamstrung by ridiculous and/or feeble libretti which prevents them being staged. They are ideal for home listening though.
I saw Oberon semi-staged. It was conducted by Ozawa and was all fairly lively, but I doubt I would ever bother to go and see it again. I am happy with the Kubelik CDs sans the tedious narration of the originally issued LPs. So, basically like the Klemperer Magic Flute, all music.
Mike
Quote from: knight66 on September 17, 2018, 09:29:33 AM
I ask, underrated by who and where? Some of these seem very well establised indeed. Pelleas, Boccenegra, Bluebeard. Others are very well appreciated in specific places. The Rimsky operas are often performed in Russia. In other parts of the world, I agree, they need more exposure. The Puccini and Cellini also do get regular performances.
Thais for example, has simply gone out of fashion. Having seen it, I am not surprised. The middle act is very good though.
The Sibelius is a Finnish opera, not Swedish. Sibelius was of Western Finnish stock, more dominated by Swedish culture than Eastern Finland. Swedish was his first language, but he considered himself very much a Finn. He was deeply involved with the Finnish Romantic movement, which was engaged in exploring a Finnish identity for its new nation as it emerged from the Swedish influences.
Mike
Of these three:
Weber: Euryanthe
Schumann: Genoveva
Wagner: Rienzi
i don't think I ever saw any major opera house stage
Euryanthe, occasionally you see
Oberon, which as silly as it is, seems lightyears ahead in terms of plot to
Euryanthe. Occasionally you will see
Genoveva, if only for reasons of historical interest more than anything really interesting.
Rienzi is just a lot of hot air - the overture is awesome and some occasional good ensemble writing but overall pretty weak, by Wagner's lofty standards that is anyway.
There is no way
Bluebeard's Castle is UNDERRATED as in seems to be a cornerstone of many opera houses, even considering it's rather unfamiliar language.
May I add four additional underrated operas, by Saint-Saens: Henry VIII, Etienne Marcel, Ascanio and Proserpine. Each is outstanding, Proserpine has some libretto issues, perhaps, but Henry VIII, Ascanio and Etienne Marcel would each be a great night at the opera, if properly cast. There alas, may be the rub! There are excellent recordings of Henry VIII and Etienne Marcel with Alain Fondary [pirated, I believe] and a good DVD performance of Henry VIII. Also, a recent release of Ascanio, superbly sung! Highly dramatic, individual works. Richly reward repeated listening.
Quote from: mjmosca on February 17, 2020, 09:02:30 AM
May I add four additional underrated operas, by Saint-Saens: Henry VIII, Etienne Marcel, Ascanio and Proserpine. Each is outstanding, Proserpine has some libretto issues, perhaps, but Henry VIII, Ascanio and Etienne Marcel would each be a great night at the opera, if properly cast. There alas, may be the rub! There are excellent recordings of Henry VIII and Etienne Marcel with Alain Fondary [pirated, I believe] and a good DVD performance of Henry VIII. Also, a recent release of Ascanio, superbly sung! Highly dramatic, individual works. Richly reward repeated listening.
Some very good suggestions. I agree wholeheartedly.
Quote from: Jaakko Keskinen on September 15, 2018, 11:19:03 AM
YMMV what counts as underrated.
German Opera:
Weber: Euryanthe
Schumann: Genoveva
Wagner: Rienzi
R. Strauss: Die Liebe der Danae
Italian opera:
Haydn: Lo speziale
Verdi: Simon Boccanegra
Puccini: La fanciulla del West
French opera:
Berlioz: Benvenuto Cellini
Debussy: Pelléas et Mélisande
Massenet: Thaïs
Saint-Saëns: Le timbre d'argent
Saint-Saëns: La princesse jaune
Russian opera:
Rachmaninoff: The Miserly Knight
Tchaikovsky: Cherevichki (Vakula the smith)
Rimsky-Korsakov: Golden Cockerel
Rimsky-Korsakov: Sadko
Rimsky-Korsakov: Snow Maiden
Rimsky-Korsakov: The Invisible City of Kitezh
Hungarian opera:
Bartók: Bluebeard's Castle
Swedish opera:
Sibelius: Jungfrun i tornet
How in the world is Debussy's
Pelléas et Mélisande underrated? I don't understand your thinking here. This opera has inspired countless composers and still stands as a cornerstone of 20th Century opera. The same could be said, but, perhaps to a less degree, of Bartók's
Bluebeard's Castle. I would like to hear your explanation for these two choices and what makes them candidates for being 'underrated'.
My 'Top 3' picks for most underrated operas:
Ravel:
L'heure espagnoleWhile I certainly agree that
L'enfant et les sortilèges is the operatic masterpiece of Ravel's oeuvre, I feel that
L'heure espagnole is inspired and noteworthy in its own right. There are many fantastic moments in this opera and, of course, the orchestral and vocal writing are typically Ravelian in their opulence.
Enescu:
OedipeRitter turned me onto this opera and when I finally sat down and listened to it, I agree with his high praise of it. This work, considered by many to be Enescu's masterpiece, deserves more exposure than it's currently getting.
Szymanowski:
King RogerMy sentiments about this masterful opera are the same as Enescu's
Oedipe, I find it truly baffling this opera isn't as well-known as it should be.
Quote from: Mirror Image on February 17, 2020, 09:48:33 AM
How in the world is Debussy's Pelléas et Mélisande underrated? I don't understand your thinking here. This opera has inspired countless composers and still stands as a cornerstone of 20th Century opera. The same could be said, but, perhaps to a less degree, of Bartók's Bluebeard's Castle. I would like to hear your explanation for these two choices and what makes them candidates for being 'underrated'.
Just because I happen to have a different opinion than you do doesn't mean you have to interfere in so arrogant of a fashion with my opinion. I could similarly object to your NOT finding that one melody in Sibelius's symphony 5 artificial. Or your considering Majora's Mask one of the worst Zelda games ever.
Quote from: AlberichUndHagen on February 17, 2020, 10:44:31 AM
Just because I happen to have a different opinion than you do doesn't mean you have to interfere in so arrogant of a fashion with my opinion. I could similarly object to your NOT finding that one melody in Sibelius's symphony 5 artificial. Or your considering Majora's Mask one of the worst Zelda games ever.
Interfere with your opinion? You gave an opinion, I questioned you as to why you felt the way you do and if you think I was being arrogant about it, I think you have the wrong impression. That was certainly not my intention. So by your logic, anyone can give an opinion, but no one is allowed to question it and get you to elaborate further as to why you feel the way you do?
FYI, I believe I explained my stance on
Majora's Mask (not sure
why you even brought this up?). If I didn't, I would be happy to tell you why I feel the way I do, which something I was trying to get you to do with those choices in underrated operas that I objected to, but I guess asking for a more detailed opinion is considered heresy by you.
At least be consistent. You have several times leaved this Forum temporarily in a highly dramatic fashion because someone interfered with your opinion in a way which was not to your liking.
Vaughan Williams 'Riders to the Sea' and 'Pilgrim's Progress' are rarely performed but IMO amongst his greatest works. I have seen them both either complete or semi-staged live - great experiences.
Quote from: Cato on October 02, 2018, 08:21:14 AM
Murderer, The Hope of Women is Expressionist opera at its best, and today about as politically incorrect as you can get! 8) Hindemith in the WW I era and afterward is the musical ancestor of Karl Amadeus Hartmann .
Cardillac is amazing! The old Dietrich Fischer-Dieskau recording is not to be missed!
Quote from: André on October 02, 2018, 10:56:54 AM
I had ordered Cardillac a few weeks agos at JPC, but for some reason that item was cancelled. I put it again in my cart today, as it's still on their web site. Hopefully I'll receive it in a few weeks !
Did it ever arrive? 8)
Quote from: Mirror Image on February 17, 2020, 09:48:33 AM
Szymanowski: King Roger
My sentiments about this masterful opera are the same as Enescu's Oedipe, I find it truly baffling this opera isn't as well-known as it should be.
Amen!
Thanks to YouTube:
https://www.youtube.com/v/k3SGLFTEelY
UPDATE: While listening to the marvelous opening for about 5 minutes, out of nowhere a commercial came on for an American presidential candidate, and then for soap or something! Possibly to clean up the candidate! ;)
Anyway, be forewarned!
Quote from: Cato on February 18, 2020, 06:38:08 AM
Did it ever arrive? 8)
Amen!
Thanks to YouTube:
https://www.youtube.com/v/k3SGLFTEelY
Yes, a long time ago. It's in the queue of some 20 new operas I intend to listen to this year 8)
Einojuhani Rautavaara wrote seven:
Kaivos (The Mine) (1957–1958/1960/1963)
Apollo contra Marsyas (1970)
The Myth of Sampo (1974/1982)
Thomas (1982–1985)
Vincent (1986–1987)
The House of the Sun (Auringon talo), chamber opera (1989–1990)
The Gift of the Magi (Tietäjien lahja), chamber opera (1993–1994)
Aleksis Kivi (1995–1996)
Rasputin (2001–2003)
I am not sure how well they are known or how often recorded/performed. But from the three that are on Spotify, they are worth investigating.
Quote from: AlberichUndHagen on February 18, 2020, 04:53:46 AM
At least be consistent. You have several times leaved this Forum temporarily in a highly dramatic fashion because someone interfered with your opinion in a way which was not to your liking.
What I find amusing is how you haven't even bothered to acknowledge my questions. As for your own points about me, you don't have any. I'm still waiting for a response on
why you feel the Debussy and Bartok operas are underrated?
Quote from: Mirror Image on February 18, 2020, 07:18:17 AM
What I find amusing is how you haven't even bothered to acknowledge my questions. As for your own points about me, you don't have any. I'm still waiting for a response on why you feel the Debussy and Bartok operas are underrated?
Because they are, at least in my country. Pelleas has been a couple of times recently in Finnish National Opera but on the very advertisement it is drawn attention to that it is performed way too rarely, at least not nearly as often as its high quality would merit which implies that at the very least it is not as popular as it should be. Bartok's work I am lucky if I ever see once in my life, although I would like to, very much.
Quote from: André on February 18, 2020, 06:44:49 AM
Yes, a long time ago. It's in the queue of some 20 new operas I intend to listen to this year 8)
Glad to hear it! Push this one to the front! :D
Quote from: Cato on February 18, 2020, 06:38:08 AM
Thanks to YouTube:
https://www.youtube.com/v/k3SGLFTEelY
While listening to the marvelous opening for about 5 minutes, out of nowhere a commercial came on for an American presidential candidate, and then for soap or something! Possibly to clean up the candidate! ;)
Anyway, be forewarned!
Quote from: AlberichUndHagen on February 18, 2020, 07:31:22 AM
Because they are, at least in my country. Pelleas has been a couple of times recently in Finnish National Opera but on the very advertisement it is drawn attention to that it is performed way too rarely, at least not nearly as often as its high quality would merit which implies that at the very least it is not as popular as it should be. Bartok's work I am lucky if I ever see once in my life, although I would like to, very much.
Regional (country) preferences and sensibilities play a role. A smaller country's audience size makes it highly unlikely that rare operas ever get performed - the potential ticket sales don't allow it, except for specific local cultural appeal. I don't expect to see King Roger, Rautavaara's The Mine or Dallapiccola's The Prisoner in my lifetime here. But I would if I lived in Poland, Finland or Italy, respectively.
Quote from: AlberichUndHagen on February 18, 2020, 07:31:22 AM
Because they are, at least in my country. Pelleas has been a couple of times recently in Finnish National Opera but on the very advertisement it is drawn attention to that it is performed way too rarely, at least not nearly as often as its high quality would merit which implies that at the very least it is not as popular as it should be. Bartok's work I am lucky if I ever see once in my life, although I would like to, very much.
Okay, well in the grand scope of these operas' reputations and performance histories, I would say they're not underrated at all --- far from it, actually. The impact of Debussy's
Pelléas was immense and inspired a whole generation of composers to look at opera through a post-Wagnerian lens. They may not be performed much in Finland, but outside of your bubble, I think you're wrong in your estimation that these operas are underrated.
Quote from: Mirror Image on February 18, 2020, 08:01:24 AM
Okay, well in the grand scope of these operas' reputations and performance histories, I would say they're not underrated at all --- far from it, actually. The impact of Debussy's Pelléas was immense and inspired a whole generation of composers to look at opera through a post-Wagnerian lens. They may not be performed much in Finland, but outside of your bubble, I think you're wrong in your estimation that these operas are underrated.
I think it's fair to say that Pelleas is underrated, or perhaps more precisely, used to be underrated: it used to be common to say that it was just Debussy's attempt to imitate Tristan und Isolde.
The topic is also complicated by the fact that there are often obvious trends in opera performance, so operas that used to be underrated come back into fashion. Sometimes whole categories of opera, such as bel canto. Plus of course with DVDs and CDs, more and more operas are available to see or hear in the privacy of one's own home. No need to depend on the local opera company to hear Bluebeard's Castle.
And frankly, some operas that might appear to be underrated deserve to be not highly rated. The OP listed Thais. I'd say that's an opera that can't be underrated, because it's not really that good to begin with. ::) [And in that list, I'm not sure some of the entries, like Simon Boccanegra and Fanciulla del West, were ever not highly rated.]
As candidates for underrated operas, I'd proffer Leoncavallo's Medici, and Strauss's Capriccio.
Quote from: JBS on February 18, 2020, 09:09:18 AM
I think it's fair to say that Pelleas is underrated, or perhaps more precisely, used to be underrated: it used to be common to say that it was just Debussy's attempt to imitate Tristan und Isolde.
I don't agree.
Pelléas is considered not only a masterpiece within Debussy's oeuvre, but a masterpiece of the 20th Century. Frankly, I don't understand
how an opera that's viewed with such high esteem and is name checked by so many composers, critics, historians, and listeners as being a defining moment in 20th Century music can be considered 'underrated'. I just don't buy that opinion as there's no evidence that points me in this direction.
Quote from: Mirror Image on February 18, 2020, 10:23:40 AM
I don't agree. Pelléas is considered not only a masterpiece within Debussy's oeuvre, but a masterpiece of the 20th Century. Frankly, I don't understand how an opera that's viewed with such high esteem and is name checked by so many composers, critics, historians, and listeners as being a defining moment in 20th Century music can be considered 'underrated'. I just don't buy that opinion as there's no evidence that points me in this direction.
Back in the 80s and 90s, when I first was exploring opera, it was a commonly expressed idea that Pelleas was really just Debussy's attempt at composing a French Tristan. Its current stature is relatively new.
Quote from: JBS on February 18, 2020, 10:45:46 AM
Back in the 80s and 90s, when I first was exploring opera, it was a commonly expressed idea that Pelleas was really just Debussy's attempt at composing a French Tristan. Its current stature is relatively new.
It must be.
Pelléas is especially notable for escaping Wagner's influence (although not completely as he did use the idea of leitmotifs) and being an opera of originality and, for its' time, a forward-thinking modernity. What was said about the opera negatively in the past is the same that was said negatively about Wagner's operas during his lifetime. Times have changed and ears have grown with those times.
Yes, times have changed. When I started collecting records in the early seventies, there was only one stereo version of Pelléas available (Ansermet) - nobody wanted to hear something in mono ???. So it was Ansermet, period. Then came Boulez and Karajan. I don't think it's a figment of my imagination to say that many music lovers were taken aback by the fact that Lord Karajan had recorded Pelléas - it was so out of character. It's fair to say that it was a milestone in the work's fortunes. Recordings tumbled forth from there on.
Maybe we are getting the words popular and underrated mixed up. I'd aver that Pelléas et Mélisande is highly revered and certainly has always been, at least as long as I have been interested in opera, which is around fifty years now. It also seems now to be increasing in popularity. On the other hand, many operas which were once very popular are not performed so often now, the OP's Thaïs being one such. I'd suggest that the reason for its comparative neglect is that it's not really very good and therefore can't be considered underrated.
Quote from: André on February 18, 2020, 12:11:54 PM
Yes, times have changed. When I started collecting records in the early seventies, there was only one stereo version of Pelléas available (Ansermet) - nobody wanted to hear something in mono ???.
I had to laugh at the mono today. Even today, Callas's mono Tosca is widely regarded as the best recording. Come to that, Roger Dessormiè 1941
Pelléas is often cited as the reference recording. And there's a very good live 1954 Rome Pelléas conducted by Karajan with Elisabeth Schwarzkopf (!) as Mélisande. All that said, the Anserment stereo version (he also did an earlier mono version for Decca) was my first recording of the work, though by that time, the Boulez was also available.
Yeah, I've often thought this thread should be re-named "Operas *I* think should be performed more often". So I'll suggest Flotow's
Martha. I'd much rather see that than another leaden revival of
Die Fledermaus or
The Merry Widow.
If the rest of Berwald's Drottningen av Golconda is as good as the overture (which it may or may not be; there's no way of knowing) then it'll be wonderful. (Although the fact that no revivals seem to have followed its 1968 première suggests otherwise.)
This month I listened to extended excerpts from Peterson-Berger's opera The Doomsday Prophets. I don't think it's ever been recorded, but if it ever does, I would be very happy. I found these 80 minutes of excerpts pure enchantment.