A 20th Century Opera Collection: agosto 2010

lunes, 30 de agosto de 2010

Ernst Krenek: Karl V - Marc Soustrot - Orchester der Beethovenhalle Bonn

Karl V, stage work with music in two parts

David Pittman-Jennings (Karl V)
Christoph Bantzer (Juan de Regla)
Turid Karlsen (Eleonore)
Franziska Hirzel (Isabella)
Werner Hollweg (Francisco Borgia)

Orchester der Beethovenhalle Bonn
Marc Soustrot

Classics Today review:

In 1930 when the Vienna Opera commissioned composer Ernst Krenek to write a stage work of "historical content", many composers were taking Schoenberg's theory of composition with 12 tones very seriously, and Krenek was one of its leading exponents outside of the master's immediate circle. The resulting Karl V is, according to the liner notes, the first completed full-length 12-tone opera (the better-known Lulu and Moses and Aaron lay unfinished). Unfortunately, it's a stodgy, thorny, difficult piece with a too-symbolic libretto, a good example of the things many listeners find intolerable in atonal music. Perhaps an ingenious staging could bring this work to life, but this recording, as good and true as it is, cannot.

In the collaborations Brecht did with Weill (Krenek's first use of this kind of theatre of symbols predates them) the ideas behind the theatre were the difficult part, so the music therefore was not. Krenek could write "light", jazz-influenced scores à la Kurt Weill or Hans Eisler when he desired (as in his brilliant Jonny Spielt Auf), but here he chose the most self-serious, complex, hard-on-the-ear music to relay his story. The plot centers around a mostly fictional account of King Charles V, who mediated the original battle between church and state, between the papacy and reformation. It is not a linear story, but rather a series of sequences involving a myriad of characters all representing a particular belief (even God himself shows up in the form of a chorus)--and sadly, there is no summary in the booklet to aid you in wading through the convoluted plot.

The music, as refined and carefully planned as it is, fails to move, shock, or otherwise comment on the text or further the action. Long stretches of German dialog only serve to stunt the flow, even if you speak the language. There are many beautiful musical moments, such as the ravishing intermezzo that opens Act 2, but they are more symphonic than dramatic.

The recording itself is very well done, executed with great respect for the score. As the eponymous Karl, baritone David Pittman-Jennings executes a terrifyingly complex role with ease, grace, and the appropriate magnanimity. As Francis, Werner Hollweg does great justice to his role all around, shining especially in the sad aria from his sickbed. The Orchester der Beethovenhalle Bonn, under maestro Marc Soustrot, breathes and snaps along with Krenek's technically challenging score, and the whole project is not only clearly and carefully recorded, but well packaged and presented. Even if the piece is not entirely successful, sounding dated rather than austere, it's still worth preserving, and remains an important piece of history that those who have any investment in 20th century opera will not want to miss.

--Daniel Felsenfeld

Tracklist:

Disc: 1

1. Karl V, stage work with music: Charles in San Geronimo de Yuste
2. Karl V, stage work with music: Beginning of the Confession: Charles and Juana
3. Karl V, stage work with music: Luther on a Diet of Worms
4. Karl V, stage work with music: Francis
5. Karl V, stage work with music: People of Sevilla
6. Karl V, stage work with music: Francis in Spanish Prison
7. Karl V, stage work with music: Charles - Eleonore - Francis
8. Karl V, stage work with music: Pope Clemens VII
9. Karl V, stage work with music: Four Ghosts
10. Karl V, stage work with music: Isabella - Chorus of Heretics

Disc: 2

1. Karl V, stage work with music: Intermezzo
2. Karl V, stage work with music: Juan - Francisco Borgia
3. Karl V, stage work with music: Moritz and Luther
4. Karl V, stage work with music: Eleanor confesses in the name of Charles to Francisco
5. Karl V, stage work with music: Eleanor - Charles/Karl
6. Karl V, stage work with music: Charles and Moritz from Saxonia
7. Karl V, stage work with music: Moritz attacks Charles - Chorus of Soldiers
8. Karl V, stage work with music: The imperium has gone
9. Karl V, stage work with music: Charles death

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lunes, 23 de agosto de 2010

Ottorino Respighi : Lucrezia - Adriano - Slovak RSO

Lucrezia, Opera in one Act and three Moments

Lucrezia - Michela Remor
Venilia - Adriana Kohútková
Bruto - Igor Pasek
Tarquinio - Ricgard Haan

Slovak Radio Symphony Orchestra
Adriano

Musicweb review:

Lucrezia was Respighi’s last opera, fortunately foreign influences in Respighi’s opera do not cloud its beauty and lyric power and the unmistakable personal style of the composer, There is enough musical impact to reach even symphonic dimensions and there is no moment where the tension begins to flag. In this very interesting and original short opera we can but approve Respighi’s definite return to a neo-classical form of music drama in which the singing parts become predominant and melody, whether recitativo, psalmody, arioso, or simple song, is supported by discreet and transparent accompaniment.

Tracklist:

01. Lucrezia: First Moment
02. Lucrezia: First Moment
03. Lucrezia: First Moment
04. Lucrezia: First Moment
05. Lucrezia: First Moment
06. Lucrezia: First Moment
07. Lucrezia: Second Moment
08. Lucrezia: Second Moment
09. Lucrezia: Second Moment
10. Lucrezia: Second Moment
11. Lucrezia: Second Moment
12. Lucrezia: Second Moment
13. Lucrezia: Second Moment
14. Lucrezia: Second Moment
15. Lucrezia: Second Moment
16. Lucrezia: Third Moment
17. Lucrezia: Third Moment
18. Lucrezia: Third Moment
19. Lucrezia: Third Moment
20. Lucrezia: Third Moment

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jueves, 12 de agosto de 2010

Gottfried von Einem- Dantons Tod - Ferenc Fricsay

Gottfried von Einem (1918-1996): Dantons Tod - Ferenc Fricsay - Wiener Philharmoniker
Opera | Early 20th Century | 2CD | EACRip | APE+CUE+LOG | Covers | RS.com | 340MB
Label: Cantus| Year of release: 2004 | AAD

Dantons Tod
Opera in 2 Parts
Libretto: von Einem & Boris Blacher after Georg Büchner

Danton: Paul Schöffler
Desmoulins: Julius Patzak
Lucille: Maria Cebotari
Robespierre: Josef Witt
Saint Just: Ludwig Weber

Wiener Philharmoniker
Ferenc Fricsay

Rec. Live 1947
Warning: Historical Rec. Low quality sound

Amazon Review:

It has taken me a long time to get around to von Einem's splashy, intensely theatrical Dantons Tod, even though I was aware of its high reputation in Germany. Like Pfitzner's Palestrina, the work hangs on in Germain opera houses but is totally ignored in Britain and America. This is the premiere performance from 1947 in servicable radio sound, mono of course, but with plenty of intrusive stage noises. Since the pitch isn't distorted, the sound didn't bother me, but newcomers to historical sound be warned. As for the performance itself, Fricsay leads with white-hot intensity, and it's only a pity that the big crowd scenes during the Reign of Terror, so essential to the opera's dramatic impact, sound distant and murky.

As for von Einem's musical idiom, it's moernist conservative, like Orff, "Zemlinky, and Pfitzner. The music reels and punches, with a great deal of well calculated melodrama, and since the basis was Georg Buchner's searing stage play (Buchner was the author of Woyzeck, made into Berg's opera, Wozzeck), von Einem wisely makes much of the singing declamatory, leading up to the riveting trial where Danton confronts his tormentor, the evil despot Robespierre. Any listener who has a taste for Wozzeck will find von Einem equally brutal and psychological but musically much closer to film music.

This particular staging from Salzburg launched Fricsay as a major conductor, and given the equally committed soloists, Daontons Tod couldn't have had a more auspicious launch. Every voice--Schoffler, Patzak, Cebotari, and Webber--is beyond criticism.

Santa Fe listener

Tracklist:

CD1

1. Einem: Dantons Tod: Prelude
2. Einem: Dantons Tod: Sie die hubsche Dame
3. Einem: Dantons Tod: Camille, welch trube Augen!
4. Einem: Dantons Tod: [Orchestral interlude]
5. Einem: Dantons Tod: Du Kuppelpelz! Du runzlige Sublimatpille!
6. Einem: Dantons Tod: Was gibt's da, Burger?
7. Einem: Dantons Tod: Robespierre, Du bist emporend rechtschaffen
8. Einem: Dantons Tod: He, er da im Finstern?
9. Einem: Dantons Tod: [Orchestral interlude]
10. Einem: Dantons Tod: Ich sage Euch, wenn sie nicht alles
11. Einem: Dantons Tod: Ach, Camille!
12. Einem: Dantons Tod: Das ist eine bose Zeit

CD2

1. Einem: Dantons Tod: Danton! Danton!
2. Einem: Dantons Tod: Camille, morgen sind
3. Einem: Dantons Tod: Camille, Camille! Hore Camille!
4. Einem: Dantons Tod: [Orchestral interlude]
5. Einem: Dantons Tod: Ihr Name, Burger!
6. Einem: Dantons Tod: Ich weiss nicht mehr
7. Einem: Dantons Tod: Die Verhandlung wird fortgesetzt
8. Einem: Dantons Tod: [Orchestral interlude]
9. Einem: Dantons Tod: Zerissen ist der dunkle Wahn
10. Einem: Dantons Tod: Wenn ich nach Hause geh'

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Stravinsky - The Rake's Progress - Chailly

Igor Stravinsky (1882-1971): The Rake's Progress - Riccardo Chailly - London Sinfonietta

Label: Decca | Year of release: 2005 | DDD

The Rake's Progress, Opera in three Acts

Tom Rakewell: Philip Langridge
Anne: Cathryn Pope
Trulove: Stafford Dean
Nick Shadow: Samuel Ramey
Mother Goose: Astrid Varnay

London Sinfonietta
Riccardo Chailly

Musicweb-International Review:

Stravinsky’s opera The Rake’s Progress was first performed at La Fenice, Venice, in 1951. His librettist was W.H. Auden. The idea for the project had first arisen in 1947, when the composer saw Hogarth’s series of paintings of the same name at an exhibition in Chicago. As for his detailed plan, he explained: ‘The Rake’s Progress is cast as an 18th century number opera. The dramatic progress depends on the succession of recitatives and arias, duets and trios, choruses and instrumental interludes, a story told and enacted almost entirely in song.’ He viewed this style in terms of ‘the classical practice of separate numbers that crystallise and hold the emotion of a dramatic situation at chosen moments’.

While there is relatively little opportunity for virtuosity in the orchestral writing, the London Sinfonietta do play with what can only be described as precision and panache, with a keen pacing of the drama led by the conducting of Riccardo Chailly. The recording is helpful to the orchestral players, and to the distinguished contribution of the woodwinds in particular. The orchestral sound has a classical priority allowing for clarity of texture and a closely-knit sense of ensemble. There are also moments of dramatic power as and when required.

In this new mastering of the original the sound has emerged with more clarity and depth than previously, and this has enhanced the whole performance. The cast is well balanced and there are some distinguished contributions from a talented array of singers, all suitably selected in their roles, save perhaps for Astrid Varnay, whose impeccable Wagnerian credentials do not necessarily make her an ideal artist for the role of Mother Goose. Samuel Ramey's distinctive contribution as Nick Shadow is as fine as any interpretation in the catalogue. His vocal style makes a satisfying impression, and he conveys an immediate and lasting impression as the cunning, ingratiating personification of the devil demon, to the life. As the opera proceeds he manages to intensify the characterization of the role, transforming from initial suavity towards genuine menace, while never sacrificing his musical standards.

As the naïve and vulnerable Anne Trulove, Cathryn Pope conveys a sense of charm and youthfulness. The lyricism of the part is always brought to the fore, to the extent that one might argue that this stylistic affectation is overdone. On the other hand, Stafford Dean as Trulove makes a marvellous foil to her, however, exuding fatherly experience at every turn. Then heading the cast comes Philip Langridge's performance as the Rake himself, Tom Rakewell. This is excellent: wholly sympathetic and technically assured. The most demanding aspect of the role, of course, comes when it is necessary to convey the character’s descent into madness, and this is remarkably achieved.

The set is nicely packaged in a presentation box, and there is a full libretto, albeit in tiny print. Another downside is the dearth of other documentation. There is no lack of information about this opera and it is disappointing that the booklet contains only the list of characters, the various cue points, and the libretto.
Terry Barfoot

Tracklist:

Disc: 1
1. Act I: Prelude
2. Act I, Scene 1: 'The Woods Are Green'
3. Act I, Scene 1: 'The Old Fool!'
4. Act I, Scene 1: 'I Wish I Had Money'
5. Act I, Scene 1: 'I'll Call The Coachman, Sir'
6. Act I, Scene 2: ' With A Air Commanding And Weapon Handy'
7. Act I, Scene 2: 'Come, Tom'
8. Act I, Scene 2: 'Love, Too Frequently Betrayed'
9. Act I, Scene 2: 'The Sun Is Bright, The Grass Is Green'
10. Act I, Scene 3: 'No Word From Tom'
11. Act II, Scene 1: 'Vary The Song, O London, Change!'
12. Act II, Scene 1: 'I Wish I Were Happy'/'Master, Are You Alone?'
13. Act II, Scene 2: Intro: 'How Strange! Although The Heart For Love Dare Everything'
14. Act II, Scene 2: 'Anne! Here!'
15. Act II, Scene 2: 'My Love, Am I To Remain In Here For Ever?'

Disc: 2
1. Act II, Scene 3: 'As I Was Saying, Both Brothers Wore Moustaches'
2. Act II, Scene 3: 'My Heart Is Cold, I Cannot Weep'
3. Act III, Scene 1: 'Ruin, Disaster, Shame'
4. Act III, Scene 1: 'Aha!'/'He's Here! The Auctioneer'
5. Act III, Scene 1: '...Ever-Sold! Annoyed!'
6. Act III, Scene 2: Prelude
7. Act III, Scene 2: 'How Dark And Dreadful Is This Place'
8. Act III, Scene 2: 'Very Well, Then, My Dear And Good Tom'
9. Act III, Scene 2: 'I Burn! I Burn! I Freeze!
10. Act III, Scene 3: 'Prepare Yourselves, Heroic Shades'
11. Act III, Scene 3: 'There He Is. Have No Fear'
12. Act III, Scene 3: 'Gently, Little Boat'
13. Act III, Scene 3: 'Where Art Thou Venus?'
14. Act III, Epilogue: 'Good People, Just A Moment'

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viernes, 6 de agosto de 2010

Britten - The Rape of Lucretia - Phaedra

Benjamin Britten (1913-1976): The Rape of Lucretia - Phaedra - Britten - English Chamber Orchestra

Label: Decca | Year of release: 1990 | ADD

Phaedra, dramatic Cantata, Op.93
Janet Baker, mezzosoprano
English Chamber Orchestra
Steuart Bedford

The Rape of Lucretia, Opera in two Acts, Op.37

Male Chorus - Peter Pears
Female Chorus - Heather Harper
Collatinus - John Shirley-Quirk
Tarquinius - Benjamin Luxon
Lucretia - Janet Baker

English Chamber Orchestra
Benjamin Britten

Amazon Review:

The performance on these discs, conducted by the composer, were linked to a touring English Opera Group production and so have a real feeling of the theatre about them. The singers show just how strong the `Aldeburgh Rep' was at that time. Janet Baker is unbeatable as the heroine - at least on a par with the role's creator, Kathleen Ferrier, and often better. Benjamin Luxon is all power and lust: Bryan Drake has just the right edge to his voice for the political mob-stirrer, Junius: John Shirley-Quirk saves Collatinus from being the rather pale goody-goody he can often seem by concentrating on the text as well as his customary beauty of tone. The two Greek-style Choruses have to handle some of the more awkward passages of the libretto. As I've said, the Male Chorus's part is actually designed for Pears' voice and he sings it with his familiar inimitable style, if without quite the freshness he brought to the various performances now available from the time of the opera's premiere. Heather Harper doesn't quite efface memories of Joan Cross, but she is as hauntingly beautiful as ever in Britten's music. And Britten as conductor is naturally and as always a supreme communicator of his own intentions. He elicits some wonderful playing from his small ECO group and paces the piece, dramatically as well as musically, just right.
Klingsor Tristan

EAC LOG CD1

EAC LOG CD2

Tracklist:

Disc: 1
1. Phaedra, Op. 93: 1. In May, in brilliant Athens
2. Phaedra, Op. 93: 2. Oh Gods of wrath
3. Phaedra, Op. 93: 3. My time's too short, your highnes
4. The Rape of Lucretia: Act 1. Scene 1. Rome is now ruled by the Etruscan upstart
5. The Rape of Lucretia: Act 1. Scene 1. It is an axiom among kings
6. The Rape of Lucretia: Act 1. Scene 1. Here the thirsty evening
7. The Rape of Lucretia: Act 1. Scene 1. Who reaches heaven first
8. The Rape of Lucretia: Act 1. Scene 1. Maria was unmasked at a masked ball
9. The Rape of Lucretia: Act 1. Scene 1. Collatinus is politically astute
10. The Rape of Lucretia: Act 1. Scene 1. There goes a happy man!
11. The Rape of Lucretia: Act 1. Scene 1. Tarquinius does not dare
12. The Rape of Lucretia: Act 1. Scene 1. My horse! My horse!... Tarquinius does not wait
13. The Rape of Lucretia: Act 1. Scene 2. Their spinning wheel unwinds
14. The Rape of Lucretia: Act 1. Scene 2. Listen! I heard a knock
15. The Rape of Lucretia: Act 1. Scene 2. Time treads upon the hands of women
16. The Rape of Lucretia: Act 1. Scene 2. The oatmeal slippers of sleep
Disc: 2
1. The Rape of Lucretia: Act 2. Scene 1. The prosperity of the Etruscans
2. The Rape of Lucretia: Act 2. Scene 1. She sleeps as a rose
3. The Rape of Lucretia: Act 2. Scene 1. Within this frail curcible of light
4. The Rape of Lucretia: Act 2. Scene 1. Lucretia!... What do you want?
5. The Rape of Lucretia: Act 2. Scene 1. Interlude: Here in this scene
6. The Rape of Lucretia: Act 2. Scene 2. Oh! What a lovely day!
7. The Rape of Lucretia: Act 2. Scene 2. We'll leave the orchids for Lucretia
8. The Rape of Lucretia: Act 2. Scene 2. Flowers bring to every year
9. The Rape of Lucretia: Act 2. Scene 2. You were right
10. The Rape of Lucretia: Act 2. Scene 2. Lucretia! Lucretia!
11. The Rape of Lucretia: Act 2. Scene 2. Last night Tarquinius ravished me
12. The Rape of Lucretia: Act 2. Scene 2. This dead hand lets fall
13. The Rape of Lucretia: Act 2. Scene 2. Epilogue: Is it all?

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lunes, 30 de agosto de 2010

Ernst Krenek: Karl V - Marc Soustrot - Orchester der Beethovenhalle Bonn

lunes, 23 de agosto de 2010

Ottorino Respighi : Lucrezia - Adriano - Slovak RSO

jueves, 12 de agosto de 2010

Gottfried von Einem- Dantons Tod - Ferenc Fricsay

Stravinsky - The Rake's Progress - Chailly

viernes, 6 de agosto de 2010

Britten - The Rape of Lucretia - Phaedra

1,068 Libros de Musica Clasica para descarga gratuita. 260 Books on Classical Music free download.

Blog de Audiolibros: 83.5 Charing Cross Road

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lunes, 30 de agosto de 2010

Ernst Krenek: Karl V - Marc Soustrot - Orchester der Beethovenhalle Bonn

lunes, 23 de agosto de 2010

Ottorino Respighi : Lucrezia - Adriano - Slovak RSO

jueves, 12 de agosto de 2010

Gottfried von Einem- Dantons Tod - Ferenc Fricsay

Stravinsky - The Rake's Progress - Chailly

viernes, 6 de agosto de 2010

Britten - The Rape of Lucretia - Phaedra

1,068 Libros de Musica Clasica para descarga gratuita. 260 Books on Classical Music free download.

Blog de Audiolibros: 83.5 Charing Cross Road

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