Commented
Discography of Mozart Operas
by RML
re:opera
Bastien
und Bastienne |
La Clemenza
di Tito |
Così Fan Tutte |
Don Giovanni
Die
Entführung aus dem Serail |
La Finta Giardinera |
Idomeneo |
Lucio Silla |
Mitridate
Le Nozze
di Figaro |
Il Rè Pastore |
Der Schauspieldirektor |
Die Zauberflötte
~Ascanio
in Alba
1 - Cinzia Forte (Silvia), Elisabeth Norberg-Schultz (Venere), Desirée
Rancatore (Fauno), Marianna Pizzolato (Ascanio), Bernhard Berchtold
(Aceste), Orchestra e Coro del Teatro Comunale di Bologna, Ottavio Dantone
2 - Marie-Belle Sandis (Silvia), Iris Kupke (Venere), Diana Damrau
(Fauno), Sonia Prina (Ascanio), Charles Reid (Aceste), Chor und Orchester
des Nationaltheaters Mannheim, Adam Fischer
3
- Jill Feldman (Silvia), Lorna Windsor (Venere), Rosa Mannion (Fauno),
Michael Chance (Ascanio), Howard Milner (Aceste), Concerto Armonico,
Jacques Grimbert
4
- Edith Mathis (Silvia), Lilian Sukis (Venere), Arleen Augér
(Fauno), Agnes Baltsa (Ascanio), Peter Schreier (Aceste), Salzburg Mozarteum,
Leopold Hager
Comissioned
as a part of the festivities for the wedding of Archduke Ferdinand of
Austria and the Princess Beatrice Maria d'Este, Ascanio in Alba was
premièred at the Teatro Ducale, in Milan, in 1771. Technically,
it is not an opera seria, but a pastoral opera in three acts labelled
a festa teatrale due to the occasion. It basically consists of a series
of virtuosistic arias surrounded by recitatives and choirs with very
little dramatic action to link them.
Although
it is rare to find a staging of Ascanio in Alba, the discography is
particularly fortunate. Leopold Hager opens the proceedings in an animated
if a bit mechanical performance, splendidly cast. Edith Mathis is the
richest-toned and most varied of Silvias and relishes the athletic coloratura
required from her. She is well partnered by the young Agnes Baltsa,
fresh-toned and displaying unusually connected registers. That said,
the low tessitura is a challenge for any mezzo-soprano. Arleen Augér
is admirably at ease with the fiendishly difficult high coloratura and
sings with unending poise and grace. Peter Schreier is also in great
shape as Aceste, putting the competion to shame. Only Lilian Sukis's
occasional ungainliness stands out in this Mozartian dream team.
Using
a period-instrument band, Jacques Grimbert offers a lighter and fresher
tonal palette, but not necessarily more thrill than Hager. That said,
the prevailing gentleness fits the general idea of what a pastoral work
should sound like. For a change, Lorna Windsor is a bell-toned charming
Venus. The low gravitational center of the role of Ascanio fits the
countertenor voice - the characteristic brightness of Michael Chance's
low register helps to generate an atmosphere of youth and ingenuousness.
He also sings with energy and imagination. The role of Fauno is a bit
high for Rosa Mannion, but this does not prevent her from offering a
genuinely charming performance. Only Jill Feldman boy-soprano-like tone
is miscast for what is supposed to be the lovely and maidenly Silvia.
Nobody
could expect that Ascanio in Alba would ever be released on video, but
the 2006 Mozart 250th Anniversary produced the miracle. Even an important
theatre such as Milan's La Scala included the work in that season. It
is only a pity that no sensible mind in Salzburg had the good idea of
borrowing for the festival the exquisite Milanese production - for David
Hermann's staging from Mannheim is one of the ugliest theatrical events
ever shown to an audience. The Arcadian landscapes suggested in the
libretto are replaced by a space eeringly similar to a paint shop in
an automotive industry plant. Also, shepherds and shepherdesses are
replaced by a group of blond-bewigged zombies. To make things worse,
the least trace of acting has been replaced by spasmodic movements from
all involved. Those people tremble and contort themselves so much that
you might feel dizzy after 10 minutes... Ah, Mozart's recitatives have
been deleted and replaced by German dialogues delivered by two actors
with microphones who also read out the staging instructions and actually
introduce each number by saying "number 5 - choir...". Mercifully,
Adam Fischer offers an animated and exciting performance, adding zest
to a score that may sound uninteresting in less capable hands. If the
recitatives had been preserved and the edition here adopted retained
a couple of deleted arias, this DVD's soundtrack could be the reference
in the discography. Iris Kupke is an adept Venus. Some may find her
tone a bit overmetallic now and then, but this seems to be the rule
in this role. Diana Damrau might lack the instrumental poise of Arleen
Augér, but compensates that with her enthusiasm and spirit. Also,
her ease with in alts is always something to marvel. It is characteristic
of this admirable artist that she is the only person on stage whom you
feel like watching in the course of the whole performance. Although
Sonia Prina is made to look and act like Jack Nicholson in the final
scene of Kubrick's The Shining (and even shake as if she had a vitamin
B1-deficiency), she still causes a flashing impression with her extra-rich
contralto. The dark tone, the crispy Italian pronunciation and her imaginative
embellishment are strong assets in this difficult part. Finally, Marie-Belle
Sandis is a capable Silvia, but her tone is rather veiled and colourless.
Although
Ottavio Dantone's DVD from Bologna was recorded in 2005, it was released
only two years later. The only reason why Michal Znaniecki's staging
is not immediately dismissed as painful to watch is the existence of
David Hermann's from Mannheim, which is unbeatable in detestability.
If one actually decided to stage a Mozart opera in a bad-taste "classy"
restaurant somewhere in Texas, the results would not be really different
- it is a horror show involving mirrors, metallic columns, glittering
fabrics, flexiglass tables, artifficial plants - with the exception
of neon lighting, all the existing examples of kitsch may be found here.
Costumes follow the same style and make such poor service to these singers
that they could figure in a What not to wear episode. When
you think it is impossible to get worse than this, there come disjointed
ballet episodes with nymphs in white wigs and table forks stuck to their
fingers. To pay all this justice, Bongiovanni offers grainy image and
poor synch. Do I need to go on? Again it is such a piety, for the musical
aspects are more than commendable. Dantone offers a vivid, stylish and
animated performance, with adept playing from the Teatro Comunale's
orchestra. Although the chorus seems to be dying to sing Il Trovatore,
they are still more reliable than that from Mannheim in the rival release.
Adam Fischer may be bolder in his theatrical effects, but the Italian
conductor offers here more polish and grace. After a shaky start, Cinzia
Forte more than meets the coloratura requirement from the role of Silvia.
Her voice could be younger-sounding, but the fact that she is an experienced
bel canto singer show why she is taking the prima donna role. Desirée
Rancatore's pyrotechnical fioriture, impressive effortless top notes
and rhythmic accuracy make her the most exciting Fauno in the discography.
Marianna Pizzolato is a touching Ascanio - her homogeneous and velvety
mezzo soprano is a treat to the ears. Bernhard Berchtold's tenor is
a bit cautious above the stage, but the sound is pleasant enough. Only
Elisabeth Norberg-Schultz is miscast as Venere - her tone is not noble
and she has a bad time with coloratura.
~Bastien
und Bastienne
1
- Edita Gruberová (Bastienne), Vinson Cole (Bastien), Lászlo
Polgár (Colas), Liszt CO,Raymond Leppard
I
guess that there is never going to be competition to this performance.
It has the fabulous Edita Gruberová superbly partnered by Vinson
Cole and Lászlo Polgár. The conducting is pleasing. More
than that: the men sing beautifully the concert arias and Gruberovas
Susanna arias from Le Nozze di Figaro are what one calls "collector
items".
top
~La
Clemenza di Tito
1
- Julia Varady (Vitellia), Edith Mathis (Servilia), Teresa Berganza
(Sesto), Marga Schiml (Annio), Peter Schreier (Tito), Theo Adam (Publio),
Rundfunkchor Leipzig, Staatskapelle Dresden, Karl Böhm
2
- Catherine Naglestad (Vitellia), Ekaterina Siurina (Servilia), Susan
Graham (Sesto), Hanna Esther Minutillo (Annio), Cristoph Prégardien
(Tito), Roland Bracht (Publio), Orchestre et Choeur de l'Opéra
National de Paris, Sylvain Cambreling
3
- Janet Baker (Vitellia), Lucia Popp (Servilia), Yvonne Minton (Sesto),
Frederica von Stade (Annio), Stuart Burrows (Tito), Robert Lloyd (Publio),
Chorus and Orchestra of the Royal Opera House, Covent Garden, Colin
Davis
4
- Julia Varady (Vitellia), Sylvia McNair (Servilia), Anne Sofie von
Otter (Sesto), Catherine Robbin (Annio), Anthony Rolfe-Johnson (Tito),
Cornelius Hauptmann (Publio), Monteverdi Choir, English Baroque Soloists,
John Eliot Gardiner
5
- Lucia Popp (Vitellia), Ruth Ziesak (Servilia), Ann Murray (Sesto),
Delores Ziegler (Annio), Philip Langridge (Tito), Lázlo Polgár
(Publio), Chor und Orchester der Oper Zürich, Nikolaus Harnoncourt
6
- Dorothea Röschmann (Vitellia), Barbara Bonney (Servilia), Vesselina
Kasarova (Sesto), Elina Garanca (Annio), Michael Schade (Tito), Luca
Pisaroni (Publio), Konzertvereinigung Wiener Staatsopernchor, Wiener
Philharmoniker, Nikolaus Harnoncourt
7
- Della Jones (Vitellia), Barbara Bonney (Servilia), Cecilia Bartoli
(Sesto), Diana Montague (Annio), Uwe Heilmann (Tito), Gilles Cachemaille
(Publio), The Academy of Ancient Music Orchestra and Chorus, Christopher
Hogwood
8
- Alexandrina Pendatchanska (Vitellia), Sunhae Im (Servilia), Bernarda
Fink (Sesto), Marie-Claude Chappuis (Annio), Mark Padmore (Tito), Sergio
Foresti (Publio), RIAS Kammerchor, Freiburg Barockorchester, René
Jacobs
9
- Maria Casula (Vitellia), Lucia Popp (Servilia), Teresa Berganza (Sesto),
Brigitte Fassbaender (Annio), Werner Krenn (Tito), Tugomir Franc (Publio),
Wiener Staatsopernchor und orchester, Istvan Kertesz
10
- Carol Neblett (Vitellia), Catherine Malfitano (Servilia), Tatiana
Troyanos (Sesto), Ann Howells (Annio), Eric Tappy (Tito), Kurt Rydl
(Publio), Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker,
James Levine
11
- Hillevi Martinpelto (Vitellia), Lisa Milne (Servilia), Magdalena Kozena
(Sesto), Christine Rice (Annio), Rainer Trost (Tito), John Relyea (Publio),
Scottich Chamber Chorus and Orchestra, Charles MacKerras
12
- Carol Vaness (Vitellia), Christine Barbaux (Servilia), Delores Ziegler
(Sesto), Martha Senn (Annio), Gösta Winbergh (Tito), Lázlo
Polgár (Publio), Konzertvereinigung
Wiener Staatsopernchor, Wiener Philharmoniker,
Riccardo Muti
13
- Anita Soldh (Vitellia), Pia-Marie Nilsson (Servilia), Lani Poulson
(Sesto), Maria Höglind (Annio), Stefan Dahlberg (Tito), Jerker
Arvidson (Publio), Drottnigholm Court Theatre, Arnold Östman
14
- Véronique Gens (Vitellia), Alexia Voulgaridou (Servilia), Vesselina
Kasarova (Sesto), Michelle Breedt (Annio), Charles Castronovo (Tito),
Paolo Battaglia (Publio), Chor des Bayerischen Rundfunks, Münchner
Rundfunkorchester, Pinchas Steinberg
15
- Eva Mei (Vitellia), Malin Hartelius (Servilia), Vesselina Karasova
(Sesto), Liliana Nikiteanu (Annio), Jonas Kaufmann (Tito), Günther
Groissböck (Publio), Chor und Orchester des Opernhauses Zürich,
Franz Welser-Möst
16
- Claudia Patacca (Vitellia), Francine van der Heyden (Servilia), Cécile
van de Sant (Sesto), Nicola Wemyss (Annio), André Post (Tito),
Marc Pantus (Publio), Vocal Ensemble Cocu, Musica ad Rhenum, Jed Wentz
Although
Tito had been an opera which had been neglected by theatres and record
companies, in the second half of XXth century it established itself
in the repertoire and has had very good luck in the recording studio.
The first studio recording was the Kertesz, which is surprisingly good,
even for todays standards. The tempi are fluent and the playing
is light and accurate, confirming the Hungarian conductors legendary
good reputation as Mozartians. With one big disappointment, which is
Maria Casulas coarse rather metallic and vibrant soprano, the
cast is admirable. Lucia Popp sets her unsurpassed standard for the
role of Servilia, Berganza is a delight for the ears, Fassbaender is
impressive and Werner Krenn was a real find for the role of Tito - his
voice is beautiful and flexible and he has a good notion of Mozartian
style. His Italian could be better, though.
Colin
Davis offers a grandiose performance of Tito featuring strong orchestral
playing, massive choral singing and intense performances from his soloists.
Although his approach is larger in scale than what Mozart might have
had in mind, it does highlight the dramatic qualities of Mozart's writing
and brings to the fore the proto-Romantic qualities of the score without
making violence to classical style. In the role of Vitellia, Janet Baker
offers her customary intelligence (especially in recitatives) and handles
embellishment and other technical difficulties with aplomb. However,
the role is too high for her range and she indulges in some unglamourous
sounds, not to mention the disappearance of the high d in the act I
trio. Few other singers have brought upon such a tormented rendition
of the role of Sesto such as Yvonne Minton does here. As much as her
conductor, she draws her portrait in a large canvas, but her firm-toned
mezzo and clear phrasing help her to stay within the limits of Mozartian
style. Only the stretta of Parto, ma tu ben mio might disturb
those used to smoother coloratura. Ideally cast, Frederica von Stade
and Lucia Popp prove their legendary reputations in her immaculate and
exquisitely sung accounts of their arias and duettino. Stuart Burrows
sings his arias with accuracy and stylishness. Also, his firmness of
tone and reserves of power do create the grandeur his imperial role
should have. Finally, the young Robert Lloyd is a forceful and dark-toned
Publio.
In
Karl Böhm's stately and impressive recording, things are a bit
slow for our modern ears, but the conductor had some tricks in his sleeves,
such as stressing the dotted rhythms the march before the second finale
as the first section of a French overture. Also, the level of clarity
of the final choir is unparalelled. At his side, the majestic playing
of the Staatskapelle Dresden, wonderfully recorded. And there is a nice
cast too! Julia Varady is in crystalline voice and offers an impressive
Vitellia. Only her Non più di fiori could be a bit smoother.
Edith Mathis is an efficient Servilia, the always musical Teresa Berganza
is a bit past her best, but still lovely and Peter Schreier is in impressive
voice and technique for Tito. This is one of his best recorded performances.
Theo Adam is a strong-voiced Publio.
To
close the pre-period practices phase of the discography, there is James
Levine's dramatic and stylish performance, featuring the brilliant contribution
of the Vienna Philharmonic. The cast could be better, though. As a matter
of fact, there is only one notable performance - Tatiana Troyanoss
Sesto, a legendary vocal display. The rest of the singers are quite
indistinguished, most of all Carol Neblett, who is taxed by the low
tessitura and has her uningratiating moment, and Eric Tappy, ill-at-ease
with the fioriture. This recording is the soundtrack of a movie by Jean-Pierre
Ponelle, in which singers dub what they had previously sung in studio.
The whole performances are set in actual Roman ruins and, although the
aesthetics are almost entirely outdated, it has some interesting idea
- not to mention that it is always worth while watching Troyanos, such
an amazing artist.
John
Eliot Gardiners
tempi and phrasing are exemplary and there is nothing to fault there,
although I can be accused of finding Levine more exciting anyway.
Hearing this score in period instrument was a revelatory experience
all right, but today the performance (caught live at the Queen Elizabeth
Hall) seems somewhat conventional. The recorded sound is good, if not
the last word in clarity. Julia Varady is still an impressive Vitellia,
but her Italian is not still quite idiomatic. Sylvia McNair is a charming
Servillia, but Anne Sofie von Otter, apart from exciting coloratura
in the stretta of Parto, ma tu ben mio, is not that impressive.
The voice lacks punch and ounds a bit pale with the exception of her
exquisite mezza voce. However, Anthony Rolfe-Johnson is a major performance,
one of the most accomplished in the discography.
Three
years before the Gardiner Tito, Arnold Östman had recorded his
performance of this opera in his baroque theatre. The performance, although
exquisitely conducted, with plenty of insight about Mozart opera performance,
is not competitive, due to shallow orchestral playing. The cast is surprisingly
good, considering the level of singing in his series, most of all the
dark-voiced Tito of Stefan Dahlberg and the lovely Servilia of Pia-Marie
Nilsson. Lani Poulson is an acceptable Sesto, but Anita Soldh simply
does not have the right voice for Vitellia.
Nikolaus
Harnoncourt's performance's shinging feature is the conductor's attention
to the score's musical-dramatic effects. A wonderful example of the
musical-dramatic possibilities of late Mozart, it is nicely played and
recorded, in spite of an irregular cast. First of all, it is quite endearing
to find Lucia Popp as Vitellia. Unfortunately, it was her last recorded
operatic performance and she was already very ill during the sessions.
This explains why some top notes are not exactly sweet (which is quite
unusual with this singer). Despite the minor flaws, her Vitellia is
still strong competition, especially in what regards homogeneity of
registers and legato. Moreover, on making this Vitellia more human and
feminine, she makes her volte-face more believable. Sample her Non
più di fiori and you will understand. Ann Murray could also
be an excellent Sesto - she is a sensitive performer, has a handsome
voice and adept coloratura, but the top register could be in better
control. The rest of the cast is below standard - Phillip Langridge
is not in good voice and Ruth Ziesak was not at her most inspired. The
roles of Annio and Publio are in the reliable hands of Delores Ziegler
and Lászlo Polgár.
If
Clemenza di Tito were a piece sacred music, Cristopher Hogwood's would
be its best recording. It is lovingly played, sung and conducted - but
one would have to use his imagination to see the drama here. Beautifully
as it sounds, Barbara Bonney seems to be singing the Coronation Mass,
partnered by Diana Montague, Uwe Heilmann and Gilles Cachemaille. Let
us speak then of the singers who understood that this opera requires
far more than that. Cecilia Bartoli was in her pre-freakish days and
her native Italian makes wonders in recitative. However, the tone lacks
brightness and punch and her legato could be improved. The truth is
that she is completely shadowed by Della Jones, which is a most impressive
Vitellia - in my opinion, the most accomplished in the discography.
Although her registers are not completely blended, she has fabulous
top and low notes and uses this very difference of register to dramatic
purposes. Her phrasing is delightful, her coloratura praiseworthy and
her decoration is admirable. The role is impressively sung throughout
and she is the reason why I keep this performance.
On
the other side of the spectrum, there is Jed Wentz's recording ordered
by Brilliant Classics for their Complete Mozart Edition. This is essentially
a small-scaled affair with modest forces and reliable if unmemorable
soloists. Wentz is a stylish Mozartian who prefers playing safe to bravado.
Thus, the choice of tempi seems to be subject to accomodating the needs
of the orchestra and singers, what makes for a clear but unexciting
performance. Taking the role of Vitellia, Claudia Patacca is the most
interesting member of the cast. Her bright and pleasant soprano keeps
its tonal quality throughout the long range and she phrases with knowledge
of Mozartian style. However, as the other singers in this recording,
she has a fancy for over-the-top decoration. Cécile van de Sant
is a light-toned Sesto. She is far from electrifying from the vocal
and interpretative point of view, but fulfills all the basic requirements
of her part. In the title role, André Post displays an agreable
natural tenor, but his top register is a bit off-the-mark. Nicola Wemyss
is a soprano Annio who copes really well with the lower end of the tessitura
and Marc Pantus is a light flexible Publio, but Francine van der Heyden
lacks a sweeter tone for the role of Servilia.
Riccardo Mutis recording was made a live in Salzburg's Felsenreitschule
in one only evening in the Felsenreitschule. Again, the Vienna Philharmonic
is a wonderful orchestra for Mozart and the conductor is extremely inspired.
It offers rich orchestral
sound which is nonetheless ductile and perfectly blended. The scale
of the performance is rather grand, but Mutis sense of phrasing
and tempo in Mozart is masterly. His
faster-and-faster ways in the first finale, for instance, are simply
sensational. If he had a better cast and less noisy recorded sound,
it would be a must in any Mozart collection. Although Carol Vaness's
Vitellia is really impressive, her phrasing could be smoother. Gösta
Winbergh's Tito is also rather coarse and Christine Barbaux's urgent
Servillia involves some strain. Delores Ziegler is commited and stylish
Sesto. Her velvety voice has a most natural lower register and her coloratura
in Parto, ma tu ben mio (where she "interacts" beautifully
with the basset horn in a naturally flowing tempo) is impressive.
An
alternative to Jean-Pierre Ponelle's film is the video from the Opéra
de Paris, featuring a highly stylized production by Ursel and Karl-Ernst
Herrmann. Although settings and costumes are exquisite, the directors
tend to make their actors overybusy, which is entirely unnecessary when
one has such a talented cast in what refers to stage skills. In the
prima donna role, Catherine Naglestad displays such impressive acting
that she could be awarded a Tony if she performed it on Broadway. Although
her tone is not immediately attractive and her coloratura in Deh
se piacer mi vuoi is completely blurred, her sensitive phrasing,
full creamy top notes, control of dynamics and acceptable negotiating
of low notes are praiseworthy. She should work on her Italian, though.
Susan Graham too has a mesmerizing stage presence and offers one of
the most touching renditions of the role of Sesto in recordings. It
is true that her low register lacks space these days, but her stylish,
expressive phrasing is more than compensation. Hanna Ester Minutillo
is an intelligent singer, but her tone may sound bleached out in the
most exposed passages. Ekaterina Siurina's soprano may be too leggiero
for Servilia, but she avoids any hint of soubrettishness and sings her
aria exquisitely. When it comes to the male singers in the cast, one
must be a bit more tolerant. When this has been recorded, the high register
in Cristoph Prégardien's tenor had become entirely juiceless.
As a result, his every ascent to top notes sound effortful and uncomfortable.
Although his Italian has a hint of an accent, he handles his recitatives
with imagination. Finally, Roland Bracht's bass is rusty and rather
clumsy. Sylvain Cambreling's conducting is kapellmeisterlich in the
bad sense of the word - it is thoroughly lackadaisical, but within the
limits of what is considered stylish for Mozart nowadays. His phrasing
is too soft-centered and, even if his tempi are more or less well-chosen,
his flaccid accents make them sound often a bit sluggish. There is a
tiny amount of freedom about the score going on here - some of the words
in recitatives don't seem to come from Caterino Mazzolà's edition
and the conductor allowed Vitellia to stay silent during the finale
ultimo.
Live
from the Felsenreitschule there is Harnoncourt's video. As previously
said, the Austrian conductor has a master touch for boosting musical-dramatic
effects in opera seria and knows how to point out the modern features
Mozart introduced in the genre, but his legendary mannerisms have grown
more evident too along the years. Although nothing really bizarre goes
on here, his playing with internal tempo destroys horizontal clarity
in numbers famous for their noble melodic features, such as Sesto's
showpiece Parto, ma tu ben mio. This is highlighted whenever
the singer taking the primo uomo role appears. Vesselina Kasarova has
a voice with amazing resources - it is powerful, bright and ductile,
but her manipulation of low register has become cumbersome and her languid
artifficially overcharged performance does not add but robs the expressive
power of Mozart's vocal writing. Compare her with Susan Graham in the
Paris video and you will see my point. In the key role of Vitellia,
Dorothea Röschmann is far more convincing and the all-out approach
is made less obvious than usually because hers is basically a velvety
lyric soprano. The lower end of her voice is not easy, though, and this
unbalances her rendition of Non più di fiori. Elina
Garanca offers a faultless performance in the role of Annio and one
keeps wondering what a marvelous Sesto she might be. Alas, it is a bit
late for Barbara Bonney, whose legato is no longer functional, although
the basic tonal quality is still lovely. There is also Luca Pisaroni's
firm-toned Publio, who benefits from the slow tempo given to his aria
to fill in the blanks with his pleasant spontaneous baritone. Jens Kilian's
use of the difficult venue's space is praiseworthy, although I cannot
see the reason for having Tito singing among brooms, sinks and all kinds
of construction waste. Bettina Walter's costumes are also most beautiful,
but I don't see the point of having poor Röschmann undress them
whenever she has to sing an aria. Even if Catherina Zeta-Jones was playing
the part of Vitellia, it would be difficult to see the point. I really
don't know what to say about Martin Kusej's stage direction. At first,
it seemed that director's objetive was to give a realistic approach
and to put the girls in the cast in lesbian-chic situations, but in
the end those singers were made to look overwrought and silly - I would
say with the possible exception of Röschmann, but then the director
seemed he had to work harder on her and made her look positively ridiculous
in her main aria. When it comes to Kasarova, it is admirable the effort
she has to employ to bend her rather modest natural attittude into something
wilder, but why a director would force an actor's nature into complete
discomfort? In any case, the most serious victim is Michael Schade.
Although his tenor is on the nasal metallic side, he is one of the few
singers around able to deal with the intricacies of his part's writing.
Alas, the director made he look like a delusional pacient in a serious
manic fit throughout the whole opera. When Sesto refers to his "usual
gentleness", the audience might have thought he was talking of
someone else. It is true, though, that Schade seems to be a good actor,
but the intensity required from him is downright comic. Unfortunately,
he let it pervade his singing and distorted tone creeps into his phrasing
more and more to the point when it has the advantage over any attempt
of bel canto when it comes to his most difficult aria. With all musical
forces involved, a wasted opportunity.
In
2006 we celebrate Mozart's 250th birthday and the special events around
this date most fortunately involve the release of a great deal of recordings
of the master's last work for stage. The pair of audio recordings, released
roughly at the same time, could not be more contrasted - the only common
feature is the level of talents involved. Charles Mackerras crowns his
Mozartian series with a mature performance the all-round stylishness
and sobriety of which could only be achieved by such an experienced
and scholarly conductor. The rich yet light textures of the Scottish
Chamber Orchestra's sound make for absolute structural clarity and every
choice of tempi and phrasing is grounded on the complete faith on Mozart's
score. If I had to complain about something is that the chorus seems
to be made of well-intentioned and behaved lads and lasses to whom anything
related to Italy, let alone classical drama, is something almost unreal.
Because of their unidiomatic and unconcerned singing, the dramatic situation
in the act I finale is seriously underplayed. We are lucky, though,
to find a more than commendable team of soloists. Although Hillevi Martinpelto's
soprano has lost some of its loveliness and acquired the hint of a flutter
in explosed top notes, her Vitellia is one of the most smoothly sung
in the discography. She also brings a certain vulnerability and femininity
even in the lowest part of her range that make her particularly seductive
and pleasing to the ears. Lisa Milne's warmer and fruitier soprano is
aptly cast for Servilia. Hers is an urgent and appealing performance.
Truth be said, the most beautiful voice in this recording is probably
Magdalena Kozena's and this doesn't seem to make lots of sense in this
context. Her unheroic crystalline high mezzo does not fit the part -
she always sounds like a very charming girl not entirely comfortable
with the dramatic writing required from her. Although her elegant phrasing,
expressive delivery of the text and spectacular coloratura cause a strong
impression in her arias, the most exposed passages make for congested
tone and absence of legato. On saying this, I don't intend any criticism
against the singer, but rather on the casting of someone not suited
to a role, in spite of all her talent and good intentions. Another difficult
piece of casting is the title role, originally intended for Ian Bostridge
and finally taken by Rainer Trost. It is true that this stylish German
tenor now displays a dried-out top register and his divisions in
Se all'impero are articulated in an odd gargling manner, but his
voice is still handsome and forceful enough for this part. Christine
Rice is a strong Annio, whose voice would seem more proper for the primo
uomo role, if her top register were a bit more comfortable, and John
Relyea is a reliable firm-toned Publio.
While
Mackerras scored all his points on trusting Mozart's score and letting
it speak by itself, René Jacobs seems to have felt the urge to
do something to give a hand to the master. The result is that one is
inclined to feel that the classical motto, inutilia truncat,
should be applied to the notes not written by the composer, such as
the intrusive fortepiano playing who disfigures public scenes with a
sound intrinsically "intimate". The sudden and extreme ritardando
and accelerando effects are also puzzling and make numbers inorganic
within themselves, the dramatic point intended lost out of calling too
much attention to itself. The excess goes into the field of vocal decoration:
some embellishment applied to "A" sections is downright abusive
and doesn't match the direct expressive style intended by the composer,
such as in the charming duettino for Servilia and Annio, here transformed
into a competition of re-writing. All that said, this is my favourite
entry in the Jacobs series of Mozart opera recordings, his "baroque-isms"
seem more proper to this opera seria than to the Da Ponte trilogy and
some moments are particularly dramatic, such as the act I finale. In
any case, if you do want to hear an intense and adventurous performance
of this opera, you should really try Harnoncourt's theatrical performance
on Teldec. Alexandrina Pendatchanska is one of the rare singers whose
voices seem taylor-made to a role with such a schyzophrenic tessitura.
Her basically metallic and powerful soprano is not exactly beguiling,
but she sings with amazing bravura and feeling for Mozartian phrasing.
Because of her tonal quality and intense manners, her Vitellia is doomed
to sound aggressive and bossy from the start, but she could have fared
better without decoration involving extra top notes that only bring
out the harsh side of her voice. As Servilia, Sunhae Im displays a light
bell-like soprano and feminine and sensitive phrasing. In the castrato
role, Bernarda Fink brings her customary intensity, sense of style and
expressiveness. Although hers is a most appealing voice, it does seem
less compact these days and some of the most exposed moments, such as
the stretta of Parto, ma tu ben mio, sound less impressive
than one should expect. Mark Padmore is the lightest-toned Tito in the
discography. In broadcast, his top register tended to bleach out into
dimness, but in the official release this is not a problem. Although
the tone does get disembodied up there, he is an intelligent and stylish
singer who builds a more fragile character than we are used to hear.
Marie-Claude Chappuis is a clear firm-toned Annio and Sergio Foresti
is a varied and idiomatic Publio. There is a lot of extra lines in recitatives,
but this does not seem to be an advantage when the continuo is fussy
to a point of making harmony a bit confuse.
Vesselina
Kasarova's Sesto would deserve a second entry in the discography when
RCA has decided to prepare an audio recording centered on her, taken
from live performances in Munich. In Pinchas Steinberg's well-behaved
tempi, the rich-voiced Bulgarian mezzo-soprano's fussying with note
values and registers is less disturbing than in live in Salzburg, when
the conductor's mannerisms seemed to boost hers. Those other than Kasarova's
admirers will find this a rather faceless release. Steinberg is a reliable
conductor and has a good orchestra, faithfully recorded in hall perspective,
but his is a non-approach: Mozart notes are all there respectfully and
efficiently transferred from score to sound waves and one might deem
it a more than decent evening in the opera house, but the fact is that
repeated and comparative listenings might be too much for what has been
preserved in these CDs. Although Véronique Gens is a musicianly
and charming singer who deals rather well with the role's difficulties
(although the act I trio finds her overcautious), this role is so distant
to her personality that in the end it sounds as a well-studied series
of arie di concerto. That doesn't mean she is a careless interpreter
- she sings her recitatives with knowledge of style and dramatic situations,
but the absence of iciness, petulance and attitude in her performance
makes her someone completley different from what Vitellia is supposed
to be. It is a matter of honour to any Servilia to steal the show with
the duettino and her aria - Alexia Voulgaridou sings well, but does
not do that. Michelle Breedt's Annio ends on calling more attention
with her homogeneous and velvety mezzo-soprano. When it comes to Charles
Castronovo, I have to confess myself more inclined to like it than most
reviewers. He is no Mozart tenor and, in the depths of his soul, he
would rather be singing Donizetti, but there is something earnest and
unstudied about his Tito that makes him something different of every
other English or German tenor in this discography. Paolo Battaglia is
a rich-toned and flexible Publio, comfortable even with the sprightly
fast tempi Steinberg decided to apply to his aria.
Two
new videos and two opportunities to hear Vesselina Kasarova in the role
of Sesto should seem more than enough for many, but when there is room
for two, there is always room for one more. While it is always welcome
to see a new video of a favourite opera, I am not so enthusiastic about
Kasarova for the third time. Her mannered artifficial Sesto should be
a curiosity in the discography, while the opportunity for real stylish
mezzo sopranos in this repertoire, such as Elina Garanca or Anna Bonitatibus
or Joyce DiDonato, has been twice lost since then. On the other hand,
there is something new in this video, which is the deletion of Sussmayr's
recitatives in favour of the bare declamation of a nutshell version
of Caterino Mazzolà's already abridged version of Metastasio's
verses. There are many things in the world that need fixing - starving
childen in poor countries, to start the list - and nobody seems to bother
about them. But Sussmayr's recitatives apparently elicit in everyone's
hearts a strange willingness to do something about them. We had seen
them cut, replaced by recitatives by other composers, you name it. The
fact that Mozart himself approved them is, of course, of no consequence.
As performed here, Metastasio's verses sound amazingly unconvincing.
There is only one Italian singer in the cast, Eva Mei and, although
she reads her lines far better than the other singers, she still sounds
as if she were reading them - and there is a simple reason for that:
try to recite a text you have always known as the lyrics to a song and
you will see you will keep the rhythm set by the composer, instead of
that of natural speech. As a footnote, someone in the production has
a problem with the Italian word "germano" and has it replaced
by "fratello" throughout. Don't ask me why. Back to the musical
aspects of the performance, Franz Welser-Möst offers a virtually
perfect performance - rich yet flexible orchestral sound, clear perspective,
rhythmic vitality, sense of theatre - except when he presses the "touching
melody" button. When this happens, the pace gets slack, the clarity
is gone and one starts to look at his wristwatch. As one might imagine,
this has a perverse effect on Kasarova, who finds in the conductor an
ally to transform Parto, ma tu ben mio in spineless chanting.
When the curtains open, one is surprised to see Eva Mei at her most
glamourous and sexy and starts to wonder what this new attitude could
do to her Vitellia. Unfortunately, the chic does not go into her singing,
which remains rather cold and uninvolved. Although she has reserves
of chest resonance for the low notes, her basic sound is too gentle
for the circumstances. Curiously, Malin Hartelius's tone has become
smoky and quite unfocused and her Servilia does not leave much of an
impression. Among the female singers, only Liliana Nikiteanu (Annio)
seems to be in good voice and animated to produce an interpretation.
Jonas Kaufmann is an avis rara in this discography - his tenor has more
than a hint of jugendlich dramatisch (he has sung Florestan in the same
theater), but still retains some flexibility. His sound is darker and
more plangent that one is used to hear, but - even if his runs in All'impero
are a bit cautious - his results are unusually clean and musicianly.
Finally, Günther Groissböck is a decent Publio. Jonathan Miller
places the action around the 1930's and Isabella Bywater's costumes
and sets are elegant and efficient. Only the burning of the Capitol
could be a bit more dramatic.
IN
CONCLUSION: The safest choice is either Mackerras or Gardiner, but Harnoncourt
is the most revelatory and there is Lucia Popps Vitellia. For
a traditional performance, the Levine video, even with its problematic
casting, is still the best idea.
top
~Così
Fan Tutte
top
~Don
Giovanni
top
~Die
Entführung aus dem Serail
1
- Arleen Augér (Konstanze), Reri Grist (Blonde), Peter Schreier
(Belmonte), Harald Neukirch (Pedrillo), Kurt Moll (Osmin), Leipzig Rundfunkchor,
Staatskapelle Dresden, Karl Böhm
2
- Edita Gruberová (Konstanze), Reri Grist (Blonde), Francisco
Araiza (Belmonte), Norbert Orth (Pedrillo), Martti Talvela (Osmin),
Bayerischen
Staatsoperorchester und chor,
Karl Böhm
3
- Laura Aikin (Konstanze), Valentina Farcas (Blonde), Charles Castronovo
(Belmonte), Dietmar Kerschbaum (Pedrillo), Franz Hawlata (Osmin), Konzertvereinigung
Wiener Staatsopernchor, Mozarteum Orchester Salzburg, Ivor Bolton
4
- Christine Schäfer (Konstanze), Patricia Petibon (Blonde), Ian
Bostridge (Belmonte), Iain Paton (Pedrillo), Alan Ewing (Osmin), Les
Arts Florissants, William Christie
5 - Christiane Eda-Pierre (Konstanze), Norma Burrowes (Blonde), Stuart
Burrows (Belmonte), Robert Tear (Pedrillo), Robert Lloyd (Osmin), Alldis
Choir, Accademy of Saint Martin in the Fields, Colin Davis
6 - Maria Stader
(Konstanze), Rita Streich (Blonde), Ernst Häfliger (Belmonte),
Martin Vantin (Pedrillo), Josef Greindl (Osmin), Berlin RIAS, Ferenc
Fricsay
7
- Luba Orgonasová (Konstanze), Cyndia Sieden (Blonde), Stanford
Olsen (Belmonte), Uwe Peper (Pedrillo), Cornelius Hauptmann (Osmin),
The Monteverdi Choir, English Baroque Soloists, John Elliot Gardiner
8
- Ruth Ann Swenson (Konstanze), Malin Hartelius (Blonde), Hans-Peter
Blochwitz (Belmonte), Manfred Fink, (Pedrillo), Kurt Rydl (Osmin), Stuttgarter
Chorister, Radio-Sinfonieorchester Stuttgart, Gianluigi Gelmetti
9
- Yvonne Kenny (Konstanze), Lilian Watson (Blonde), Peter Schreier (Belmonte),
Wilfried Gahmlich (Pedrillo), Matti Salminen (Osmin), Opernhaus
Zürichs Chor und Orchester, Nikolaus
Harnoncourt
10
- Lynne Dawson (Konstanze), Marianne Hirsti (Blonde), Uwe Heilmann (Belmonte),
Wilfried Gahmlich (Pedrillo), Günther von Kannen (Osmin), Academy
of Ancient Music Orchestra and Chorus, Cristopher Hogwood
11
- Yelda Kodali (Konstanze), Desirée Rancatore (Blonde), Paul
Groves (Belmonte), Lynton Atkinson (Pedrillo), Peter Rose (Osmin), Scottish
Chamber Orchestra and Chorus, Charles MacKerras
12
- Eva Mei (Konstanze), Patrizia Ciofi (Blonde), Rainer Trost (Belmonte),
Mehrzad Montazeri (Pedrillo), Kurt Rydl (Osmin), Orchestra del Maggio
Musicale Fiorentino, Zubin Mehta
13
- Christine Schäfer (Konstanze), Malin Hartelius (Blonde), Paul
Groves (Belmonte), Andreas Conrad (Pedrillo), Franz Hawlata (Osmin),
Mozarteum Orchester Salzburg, Marc Minkowski
14
- Malin Hartelius (Konstanze), Magali Léger (Blonde), Matthias
Klink (Belmonte), Loïc Félix (Pedrillo), Wojtek Smilek (Osmin),
Europa Choradakademie, Les Musiciens du Louvre, Marc Minkowski
15
- Aga Winska (Konstanze), Marianne Hellström (Blonde), Richard
Croft (Belmonte), Bengt-Ola Morgny (Pedrillo), Tamas Szüle (Osmin),
Drottningholm Court Theatre Orchestra and Chorus, Arnold Östman
16
- Edita Gruberová (Konstanze), Kathleen Battle (Blonde), Gösta
Winbergh (Belmonte), Heinz Zednik (Pedrillo), Martti Talvela (Osmin),
Wiener Staatsopernchor, Wiener Philharmoniker, Georg Solti
17
- Inga Nielsen (Konstanze), Lillian Watson (Blonde), Deon van der Walt
(Belmonte), Lars Magnusson (Pedrillo), Kurt Moll (Osmin), Chorus and
Orchestra of the Royal Opera House, Covent Garden, Georg Solti
18
- Cheryl Studer (Konstanze), Elzbieta Szmytka (Blonde), Kurt Streit
(Belmonte), Robert Gambill (Pedrillo), Günther Missenhardt (Osmin),
Wiener Symphoniker, Bruno Weill
19
- Catherine Naglestadt (Konstanze), Kate Ladner (Blonde), Matthias Klink
(Belmonte), Heinz Göhrig (Pedrillo), Roland Bracht (Osmin), Staatsopern
Stuttgart Chor und Orchester, Lothar Zagrosek
This
most delightful of comic operas has always been a favourite of great
conductors and has a long line of recordings - however, casting verges
on impossibility. The main soprano and tenor roles plus the bass demand
natural and technical qualities which are quite rare among singers.
I chose to start my list with Ferenc Fricsays, still in the time
when we were denied the complete version of some of Belmontes
arias. The Metropolitan Opera Guide to Recorded Opera tells us that
Fricsays performance is so successful because, instead of directly
dealing with the traps in the score, it cunningly escapes all of them.
I think that it was mean to say that of Fricsay and his orchestra. It
is actually amazing that back in the 50s, someone could have been
so right about tempi and articulation as Fricsay is. That is already
something to be praised - but his achievement also includes an absolute
control of the orchestral phrasing, precise in an amazing level, even
in the faster movements. Of course, more modern recordings have surpassed
these standards, and some numbers are still heavy and slow, such as
the janissaries
choirs and Blondes Dürch Zärtlichkeit. On the
other hand, I would gladly use the Met guides words to describe
the cast. Maria Stader is barely acceptable as Konstanze - she has a
basically pretty voice, disturbed by lack of support in the middle register
and a weird shriek-y attack in some notes as if she were singing operetta.
Her coloratura is slippery sometimes too - in her favour, she has a
most creamy top register. From the interpretative side, she is a total
cipher. Her Konstanze is incredibly phlegmatic and the only point I
can see in her gay and light Martern aller Arten is that she
is either a masochist or that she really does not really now what death
means. On the other hand, Rita Streich is a most charming Blonde, really
natural about her patter. Ernst Häfliger has a pleasant voice,
but it seems that Belmonte is a stretch for him. His Wir gehn
hinein in the trio with Pedrillo and Osmin seems to take him to
his limits and, in the opening aria, for once in the discography, the
verb bringen becomes "brongen" in sustained notes.
Martin Vantin is not top grade as Pedrillo and the actor who speaks
his lines sounds like a woman. (As a matter of fact, only Streich and
Greindl read their spoken lines). As for Josef Greindl, he is the best
Fafnerian Osmin in the discography. He has a naturally dark tone, good
low notes and a clear line, provided he does not have to make it to
move very fast. Moreover, he is really congenial in the role. The mono
sound is very clear and immediate, with good low harmonics - only when
the two women sing together we can feel some congestion.
If
Fricsay had Karl Böhms cast, his recording would have been
a classic. Anyway, Böhm has other advantages - excellent stereo
recording and the flexible Staatkapelle Dresden, offering wonderful
woodwind playing. His conducting is rather slow for modern ears, although
the cast is so accomplished that it remains a model of good singing
in this opera. Nevertheless, his deliberate tempo for the final Vaudeville
is marvellous - it gives this music an emotional content unavailable
in the faster pace now usually adopted. Also, when Böhm gets animated,
such as in the opening of the overture and in the Osmin/Belmonte/Pedrillo
trio, the results are quite exciting, although still lacking in atmosphere
- it is too pretty in a general way. Arleen Augér is a light
Konstanze, undisturbed by the virtuosistic demands of the role, Peter
Schreier was in beautiful and flexible voice (although he does not sing
the complete Belmonte arias) - together with his Tito (also for Böhm),
his best Mozart performance recorded - and Kurt Moll is the unsurpassed
Osmin. His bass is deeper, more flexible and beautiful than anyone elses.
And he is really funny too. Harald Neukirch is a light open-toned Pedrillo,
but Reri Grist is in very nasal voice and the high notes are not always
secure. I also regret that the dialogues were given to actors instead
of the singers. The recorded sound is excellent.
Colin
Davis's performance is certainly gracious, but that's it. Clear and
warm-toned as the Accademy of Saint Martin in the Fields is, the performance
lacks zest and theatricality. Tempi tend to sag and we listen to notes
bureaucratically following notes with the only purpose of sounding pretty
without much animation. Listen to the cozy Belmonte/Pedrillo/Osmin trio
and you'll get the point. The cast has interesting performances. The
leading couple sing their roles with a grown-up approach, which certainly
is refreshing. Christiane Eda-Pierre has such an exotic velvety tone
and sings with such a full yet light tone that she ends on being irresistible,
even when things are not entirely into control. Although his singing
is not necessarily ingratiating and his phrasing is too heavy, Stuart
Burrows sings the part of Belmonte with a heroic yet rounded tone that
certainly makes the role more positive than usual. Norma Burrowes is
a delightful Blonde, discrete yet charming and completely at ease in
the tessitura. Some may found Robert Tear a bit blustery as Pedrillo,
but he also displays vocal ease and some power in this often undersung
role. Finally, Robert Lloyd is an interesting Osmin, black-toned and
full of nice interpretative details. Dialogues are spoken by actors,
whose voices are not necessarily similar to those of the singers.
There
is also Karl Böhms video from Munich, made when the conductor
was 86. Although the tempi are still slow, the approach is surprisingly
more energetic. An outstanding moment is the quartett Ach, Belmonte,
truly uplifting. The orchestra is sensational - with clear woodwind
and wonderful phrasing from the strings. However, it is a pity that
there are lots of mismatching between singers and the pit now and then.
The recorded sound is also excellent, providing weight, spaciousness
and clarity. I think that this might be Edita Gruberovás
best Konstanze. She was in her firmest and healthiest voice and not
only does she avoid mannerisms, but her detractors will not be able
to accuse her of scooping in any way here. Nobody sings this role live
with such energy and ease - in the end of Martern aller Arten,
the audience just goes wild. Reri Grist is never on this level - she
has intonation problems in Dürch Zärtlichkeit, but
counts with the useful quality of being heard in ensembles. Francisco
Araiza was in dulcet voice, but keeping reserves of power. It is a pity
Ich baue ganz is cut and Wenn der Freuden is shown
in its simplified version, for Araiza sings sensitively and stylishly
throughout. Norbert Orth is a powerful Pedrillo - his top notes in Frisch
zum Kampfe are simply awesome. Alas, although he is better here
than in Soltis recording, Martti Talvela is below standard as
Osmin. He has poor notion of Mozartian style, intonation problems, difficulty
with the lower notes and is careless about note values. Sometimes I
had the impression that the pitch was a bit higher here, which would
benefit Gruberová and Talvela, but, if this is true, it didnt
help him much. August Everdings staging is too 70s for my
taste, but costumes are beautiful. His stage direction is almost unbearably
artifficial, but everybody in the cast follows it with conviction and
animation, particularly Grist and Orth, but the Selim is too dispeptic.
There are some charming ideas now and then and, in the end, one tends
to forgive the drawbacks.
Our
introduction to Entführung in period practices is made rather agressively
by Nikolaus Harnoncourt. He took the pain of finding the "Turkish"
instruments as close as possible to the original ones and the sound
is excitingly stingy. I believe that Harnoncourts aim was to show
us that dealing with the idea of turcquerie at Mozarts time was
not as funny as it seems today - the Turks have almost invaded Vienna
not long before those days. And the conductor here tries to recreate
some of the thrill. It works when we are dealing with the "public"
scenes, but the intimate ones, such as the duet between Konstanze and
Belmonte, demand a lighter touch. Also, the recorded sound prevents
any kind of intimacy - I also find that the drums are too loud. The
cast is far from perfect. The role of Konstanze is quite a stretch for
Yvonne Kenny and, even if her voice is beautiful and the phrasing tends
to be musicianly, she is operating too close to the edge. Peter Schreier
is in dry rather gritty voice and Matti Salminens voice, described
by one reviewer as "yawny", is foreign to Mozart. Lilian Watson
is an appealing Blonde, though.
It
is funny that Georg Solti, in his unpretentious way, achieved what Harnoncourt
wanted so much to do. There is an underlying tension here, which, however,
does not disturb the lyrical moments, which, by the way, take profit
of the Vienna Philharmonic's transparent orchestral sounds. According
to the booklet, the idea of recording this opera came to Soltis
mind on listening to Edita Gruberová singing Traurigkeit
in a concert. Her performance is controversial. What is beyond argument
is that she is really at ease in such a difficult role, challenging
all other sopranos who ever sang it, making things even more difficult
on throwing some extremely high pianissimi. Nevertheless, her interpretative
variety sometimes gets dangerously close to preciousism, such as in
Traurigkeit. It is a pity that Kathleen Battle was a bit shy
in a role that, in theory, is cut for her. I suspect that she was not
in her best shape either. Some of the high notes do not come off easily
as they used to. Gösta Winbergh is a strong-voiced Belmonte, but
I would have appreciated a bit more smoothness. Heinz Zednik is in trouble
in his aria and Martti Talvela is unacceptable as Osmin. He is clueless
about how he should sing the role. Moreover, he was past his best here.
Decca's recorded sound is tipically overgrand.
Live
in London, Georg Solti's animation and sense of rhythm produce a less
poised and finished orchestral sound compared to his Viennese studio
performance, but the recorded sound is at once full and clear, providing
perfect balance between singers and orchestra. The staging is not particularly
beautiful, but is unobtrusive and the idea of a thoroughly-westernized
Selim is interesting and throught-provoking. The role of Konstanze is
at the limit of Inga Nielsen's possibilities, but her full, rounded
soprano and her fearlessness in dealing with her difficult lines help
her through most of the role - although some passages of Martern aller
Arten makes us feel sorry for her. On the other hand, Lillian Watson
is entirely at ease as Blondchen - a charming performance. Deon van
der Walt is a light, agile and dashing Belmonte, but it is Kurt Moll
this performance's shining feature. The great German bass displays at
once vocal virtuoso-quality, impressive control of the tessitura and
real talent for comic acting. He (and probably Watson) is the only source
of visual interest in an otherwise lackadaisical production.
I
had previously being harsher to Cristopher Hogwoods recording,
but was finally won over by its animation, sense of comedy and natural
recording. Woodwind are beautifully recorded, the phrasing is expressive
and there is sense of theatre overall. Best of all, this bright and
sprightly approach does not thwart the deeper aspects of the score.
The trio with the bass and the tenors has all the tension it needs and
Traurigkeit is given all the melancholy it needs. The only
moment when I feel the conductor could be more alert was in the final
vaudeville, where the tempo shifts could be more boldy defined - in
the rest, he is in complete control of his ideas and means. In my previous
review, I called Lynne Dawsons performance as "bossa nova".
Although it is too helplessly light a voice for the role, my criticism
is quite tamed now. As she does not try to make her voice sound as an
important one, she remains natural and pleasing all the time. More than
that, her coloratura is really precise and she is always a tempo even
in the fast paces adopted by Hogwood. Although richness of tone colouring
is impossible for her, she is affecting in the freshness of her voice.
Curiously, her best moment is Martern aller Arten, sung with
technical mastery, good taste and fearlessness. Ach, ich liebte
is a bit high for her voice, though, and Traurigkeit needed
a bit more depth. Marianne Hirsti has a a brighter tone, but finds the
role a bit high too. She is refreshingly economical in her characterization.
When it comes to Uwe Heilmanns Belmonte, it is difficult to define
his performance. He has all the resources needed for his role - a pleasing
tone, flexibility, mezza voce and intelligence. The problem is the way
he handles those resources - sometimes, he sounds a bit clumsy, especially
when the tone gets open in an overlit way or when there is flutter in
the vocal production. His weakest moment is the opening aria, but he
warms to a beautiful performance after all. Wilfried Gahmlich is an
accomplished Pedrillo too. Gunther von Kannen is a funny unexaggerated
Osmin - always congenial and imaginative. The tone is a bit woolly,
but he manages to produce decent divisions and has acceptable low notes,
although he is not a deep bass. The edition is complete.
Arnold
Östmans video has been recorded live in Drottningholm. His
conducting is similar to Hogwoods in its orchestral sound image,
but Östman has a resourcefulness as a Mozart conductor which eludes
Hogwood. However, it is difficult to do anything with an orchestra as
pale as the one in the Swedish theatre. To make things worse, the cast
is undistinguished but for the tenors. Richard Croft is a nice firm-voiced
Belmonte and his Pedrillo is really funny.
Recorded live in
Schwetzingen in 1991, Gianluigi Gelmetti's performance has fresh and
absolutely transparent orchestral sound. Although the proceedings are
animated enough, there is an absence of variety and imagination that
verges on sameness - the janisseries sound polite, Belmonte's draydeaming
seem rather blank, Konstanze's melancholy never go beyond prettiness
and Osmin is just out of the context in this china doll display. Ruth
Ann Swenson could be an ideal Konstanze - the tone quality is lovely,
the coloratura is effortless, she can throw high pianissimi when necessary
and she is definitely stylish. However, a generalized touching quality
seems to be her only expressive tool - and she has her edgy moments
too. Hans-Peter Blochwitz is also stylish and dulcet-toned, but the
role seems a bit high for his voice and his phrasing can have its unflowing
moments. His interpretation is also a bit detached; sometimes, it seems
he would rather be singing something else. Although Kurt Rydl's singing
lacks the necessary finish for Mozart, he was in firm voice here and
is probably the most engaged member of this cast. Malin Hartelius and
Manfred Fink offer exemplary performances of the roles of Blondchen
and Pedrillo. Michael Hampe's production lacks imagination - stage direction,
sets and costumes are bland to the point of indifference.
John
Eliot Gardiners recording is energetic and animated. Some
may found it too hard-driven, but it is my opinion that Entführung
does not work if made to sound "comfortable". Sometimes,
the conductor's dramatic points could be a bit more natural; his handling
of ad libitum in Martern aller Arten, for example, is disturbing
and, in his extreme orchestral effects, there may be some lack of clarity
and charm. Luba Orgonasová really has a Konstanze voice and her
phrasing is utterly musicianly. Her Traurigkeit is beautiful
in its simple and affecting rendition. I have not seen anyone sing with
such love for her lines since the days of Margaret Price. Stanford Olsen
is a fluent Belmonte, singing with elegance throughout, although the
tone is a bit nasal now and then. Cyndia Sieden is light and pretty
as Blonde. Cornelius Hauptmann is witty, but does not have the means
to sing the role of Osmin. The recorded sound is excellent.
Bruno
Weil's Entführung is one of the best recordings of this work. The
conductor has his own period-instrument band, but deals wonderfully
with the often considered unglamourous Vienna Symphonic. His conducting
is exemplary in its musicianship. He lacks a bit of the sense of danger,
but it is so praiseworthy in its clarity and rhythmic vitality that
one easily forgives him. The cast is very nice. For a change, there
is a Konstanze who is not primarily concerned about technical aspects.
Although Cheryl Studer's singing is not exactly immaculate, her generosity
as a performer makes her quite a positive Konstanze, sung in full voice
and in gleaming tone. Her Blonde, Elzbyeta Szmytka, is really pleasing,
with an attractive shimmering tone and good sense of commedy. In my
opinion, no other tenor is so eloquent as Belmonte as Kurt Streit. He
is musicianship itself, is technically accurate and has a most velvety
appealing tone. Robert Gambill, in his pre-Wagnerian days, is the best
Pedrillo in any set. He really gets heroic in his aria, for once. Only
Günther Missenhardt, despite an imposing bass voice, lets things
slightly down. He lacks real technical fluency, but he displays a nice
character. As a matter of fact, the cast really works as a team and
the dialogues are very funny, especially when Missenhardt and Gambill
are concerned.
William
Christie and his team, after years of being labelled as baroque specialists,
decided to explore Mozart. The level of his Mozartian performances is
rather high, but this is his best Mozart recording. The conducting is
most exciting and his sense of structure is so strong that he succeeds
in keeping the unity of the numbers as if the dialogues did not interrupt
them at all. The orchestra is excellent and so is the recorded sound.
He has a very nice cast. Although Christine Schäfer's voice is
not exactly heroic, she sings forcefully and her Martern aller Arten
has real panache. I only regret that the tone is not as varied as it
should. Traurigkeit is a bit monotone - the real interest lying
on Christies beautiful orchestral support. Patricia Petibon is
an efficient Blonde and Iain Paton is also a competent Pedrillo. Ian
Bostridges voice is light for Belmonte, but he sings with real
feeling and good taste. He makes beautiful things throughout. However,
it is Alan Ewings Osmin who takes pride of place. He is one of
the only singers in the discography to master the difficult writing
without any sense of difficulty.
Now
available on DVD, the Salzburg production of the Gerard Mortier days
as the festival's director is predictably controversial. The story is
transposed to modern days. So, the action takes place in a bunker surrounded
with barbed wire and machine-guns. As a matter of fact, the transposition
could have been effectively done if this did not include new scenes
and extra dialogues (with some lines read in Arabic), which are not
only irrelevant to the plot but also make the opera longer. However,
the most regretable feature is the Turkish band playing traditional
music, especially right between the vaudeville and the final ensemble.
The stage direction is also exaggerated in a way that disturbs singers
right in the middle of their (difficult) arias. All in all, it is a
blessing that those singers can act! It is difficult to assess Marc
Minkowski's conducting, since the orchestra is not clearly recorded,
let alone the chorus. As it is, he adopts fast tempi and his knowledge
of expressive effects is telling. The energy with which he approach
numbers such as the trio for tenors and bass and Osmin's great aria
is amazing - there is a real sense of danger in the orchestra. Also,
his approach to Mozartian phrasing is of great interest, especially
the way he finds grace notes where other conductors see "regular"
ones. Nevertheless, probably because the singers are really too busy
fulfilling the director's various wishes, there is an overall unpolished
quality about the performance, especially in ensembles. Minkowski has
given evidence of his talent as a Mozartian; it is a pity that he chose
to record his Entführung in these eccentric circumstances. Recorded
live, Christine Schäfer's Konstanze is far less appealing than
in studio. The role takes her to her very limits, preventing her from
offering clear coloratura, trills or really expressive phrasing. Although
she is still charming and musicianly, Malin Hartelius's soprano lacks
here some focus and does not blend really well with Schäfer's brighter
voice. As much as Schäfer, Paul Groves sounds happier in his studio
recording. Here, he does display a healthy tenor which readily takes
to mezza voce, but he is too often too clumsy or careless about his
phrasing for comfort. One may point out that this is a difficult role
to pull out live, but you only need to listen to Deon van der Walt in
the Covent Garden video to see that it is perfectly possible to be an
utterly stylish and musicianly Belmonte on the spot. Andreas Conrad's
tenor is a bit tight, but he manages to find the right effect in both
his arias and is also a congenial actor. Finally, despite all his good
intentions and dramatic sense, Franz Hawlata lacks the low register
for the role of Osmin.
Hans
Neuenfels' staging is a complete perversion of Mozarts Singspiel.
His re-invention of the plot made the whole thing simply impossible
to follow if you do not know the story already and it does not help
either to use two artists for each role: a singer and an actor. It only
makes the stage crowded and it is simply unnecessary considering that
the singers have better physique de rôle than the actors and are themselves
good actors. Worse than that - Neuenfels re-wrote (!) the dialogues,
making them longer than the original ones and the result is that this
ultimately looses the essential quality of comedy, which is timing.
Anyway, if the musical performance were something of particular interest,
one could overlook the production (or turn the image off), but the fact
is that it is really undistinguished. Lothar Zagrosek's conducting is
acceptable in the ouverture, with good woodwind playing, but, once singers
appear, the orchestra starts to be recorded in too recessed a way, turning
the sound perspective very shallow. Also, Zagrosek's tempi are slow
and his phrasing is heavy - and his cast does not help him. Catherine
Naglestadt has a creamy soprano with some beautiful mezza voce effects,
but she is unable to make it move. The coloratura is incredibly blurred
- Martern aller Arten is a martyredom to the audience. Matthias
Klink has a rather juicy, plausible voice for Belmonte. Unfortunately,
he sounds too much the operetta tenor to my ears - his voice is a bit
lacrymose and he is not very precise with divisions. Roland Bracht (Osmin)
is the more familar name in the cast. His bass is certainly imposing
if not really Mozartian and not very comfortable in low notes. The saving
grace of the production is Kate Ladner as Blonde, who has a charming,
bright and clear voice and is also very funny.
Charles
Mackerrass performance, the soundtrack to a film "Mozart
in Turkey", is rather disappointing. Although
the performance is neatly done, the conductor does not offer
his customary special insight about the score. If he had more interesting
soloists, maybe the necessary sparkle would have been produced. The
bright-toned Yelda Kodali is a techically fluent Konstanze, but rather
clueless in what regards interpretation. Desirée Rancatore easily
ousthines her as Blonde and it is charming to find an Italian soprano
in a Singspiel moreover. Paul Groves has a pleasant voice, but there
is something overcareful about his singing. Peter Rose, however, is
a good Osmin. He lacks animation, but does what he has to do with spontaneity.
The
best option among videos of Entführung comes from Italy. Zubin
Mehta's performance from the Florence May Festival is thoroughly enjoyable.
As he has proved in his Figaro recording from the same source, Mehta
is a stylish Mozartian mainly concerned with beautiful phrasing and
clarity. His orchestra's flexible strings and the prominent woodwind
are all for the best. The energetic approach and the brisk tempi plus
rich recorded sound (perfect balance between orchestra and soloists)
make it a compelling Mozartian experience. Although the stage direction
is a bit exaggerated, the traditional and colourful costumes and sceneries
are certainly refreshing. I only don't know if I like all that fuss
about Osmin's pet crocodile... Crowning the performance, there is Eva
Mei's impressive Konstanze. She is entirely at ease in her difficult
part, has admirable sense of Mozartian style and phrases beautifully
throughout - not to mention her floating pianissimo. Also, she finds
true Innigkeit in her exquisite performance of Traurigkeit.
I really cannot think of someone who can sing this part better than
she does. Truth be said, she does not have the most charismatic stage
presence one can think of, but that would be demanding too much, wouldn't
it? Patrizia Ciofi's creamy lyric soprano is also the right instrument
for Blonde - and she really seems to be having fun playing her spunky
English maid. Although Rainer Trost's voice is on the hard side, his
singing is pleasant, accomplished and charming. Mehrzad Montazeri is
a strong-voiced Pedrillo who produces some really full top notes in
Frisch zum Kampfe. Watching the video, one tends to oversee the fact
that Kurt Rydl's voice is not a Mozartian instrument - at least not
at this time of his career - since he is a funny congenial Osmin on
stage. However, the unsteadiness, approximative pitch and unclear attack
can be bothersome. Markus John is an interesting Selim, his gentleness
and inner conflicts making his volte-face even more believable. The
camera direction is a bit excentric: it is good to see the orchestra
soloists during some arias, but I would rather look at the singers while
they are singing.
The
good news about Marc Minkowski's second video of Die Entführung
aus dem Serail is that now the recorded sound is very good, faithfully
preserving the superb playing of the excellent Musiciens du Louvre.
As in Salzburg, Minkowski understands this score as few other conductors
and knows how to plays all the effects intended by Mozart in an extraordinary
but undemonstrative manner. The bad news is that we still have a dancing
Passa Selim who reads his lines in Arabic, a weird production and an
unexceptional cast. Promoted to the role of Konstanze, Malin Hartelius
displays nimble technique, smooth coloratura and unusual attention to
Mozart's instructions. However, the role is a couple of sizes larger
than her voice. As a result, her soprano sounds shallow-toned and tonal
variety is somewhat beyond her possibilities. As Blondchen, Magali Léger
displays a sexy bright-toned soprano leggiero that has its edgy moments
when things get too high and fast. Matthias Klink's tenor has lost a
great deal of naturalness since Zagrosek's recording. One might think
that there are two Pedrillos in this recording. Considering his clumsiness
with fioriture, the absence of Ich baue ganz ends on being
an advantage. I might be mistaken, but I could not recognise the version
of Wenn der Freude featured here - it neither corresponds to
the one found in old recordings nor to the one in the Gerhard Croll's
Neue Ausgabe. Loïc Félix is a decent Pedrillo, but I am
afraid Wojket Smilek is desperately overparted as Osmin. The production
shown in the Festival d'Aix-en-Provence is not particularly beautiful
to the eyes and the director has a fancy for filling the stage with
cute little stage gestures carried out by a group of stooges as if he
did not believe that one would care for Mozart's Singspiel if performed
as devised by the composer. Curiously, these actors taking the Turkish
roles are the blondest people on stage. Considering the percentage of
people of Arabic descent in France, this has caught my attention.
Recorded
during the Mozart 250th Anniversary Salzburg Festival, this 2006 production
of Entführung aus dem Serail is probably the worst opera DVD you
will ever buy. The point in Stefan Herheim's production seems to be
laughing at those who actually like this delicious Singspiel as if the
very fact that liking it was worth of mockery. Although silence is the
appropriate review for this derisive production, DVD-buyers should be
warned about what they would be spending their money on. In this staging,
there is no abduction, no seraglio, no Turkey and no character named
Pasha Selim. An innocent member of the audience would spend the whole
night trying to guess why this nonsensical play about the battle of
sexes in which every character is dressed as brides and grooms in a
white hall filled with gift-wrapped boxes has this "soundtrack"
with a Turkish flavour. The original dialogues have been replaced by
a pointless exchange of platitudes about the nature of relationships
and the libretto is only quoted to be made fun of by characters. If
one turns the TV set off and leaves the speakers on, the musical performance
in itself is far less disappointing. The edition here adopted opens
all the cuts in Konstanze's, Blonde's and Belmonte's (except for Wenn
der Freude) arias and includes the 5a March. Ivor Bolton's conducting
is clear and sprightly, but do not look for any spirit behind the notes
- the whole proceedings are as gemütlich as it gets. The Mozarteum
Orchestra does a clean job, but the recording offers a somewhat recessed
orchestral sound. The lovely Laura Aikin is overparted as Konstanze
but refuses to surrender to that and plunges into her difficult arias
with technical aplomb and refined musicianship. However, there is an
omnipresent tension and the occasional overbrightness in top notes.
When it comes to Valentina Farcas's metallic-toned Blondchen, the loveliness
is restricted to her good looks and personal charm. Charles Castronovo's
basic tone is appealing enough and he never cheats with Belmonte's divisions.
His overcovered top register robs the finish of his Mozartian phrasing,
though. Dietmar Kerschbaum's Spieltenor turns around comic effects.
Surprisingly, he is not afraid of the heroics of Frisch zum Kampfe.
Franz Hawlata still sounds ill at ease in the part of Osmin. His bass
sounds dry-toned and constricted all the way, but his acting skills
are commendable (as much as his Blondchen's).
IN
CONCLUSION: In modern instruments, Weil is the safe choice; in period instruments,
Hogwood is the safe choice. If you want your Entführung more exotic, in modern
instruments, Solti is the one to fo gor; in period instruments, Christies
or Gardiners.
top
~La
Finta Giardinera
1 - Alexandra Reinprecht (Sandrina), Véronique Gens (Arminda),
Adriana Kucerová (Serpetta), Ruxandra Donose (Ramiro), John Mark
Ainsley (Belfiore), John Graham-Hall (Podestà), Markus Werba
(Nardo), Mozarteum Orchester Salzburg, Ivor Bolton
2
- Julia Conwell (Sandrina), Lilian Sukis (Arminda), Jutta-Renate Ihloff
(Serpetta), Brigitte Fassbaender (Ramiro), Thomas Moser (Belfiore),
Ezio di Cesare (Podestà), Barry McDaniel (Nardo), Mozarteum Orchester
Salzburg, Leopold Hager
3
- Edita Gruberová (Sandrina), Charlotte Margiono (Arminda), Dawn
Upshaw (Serpetta), Monica Bacelli (Ramiro), Uwe Heilmann (Belfiore),
Thomas Moser (Podestà), Anton Scharinger (Nardo), Vienna Concentus
Musicum, Nikolaus Harnoncourt
4
- Eva Mei (Sandrina), Isabel Rey (Arminda), Julia Kleiter (Serpetta),
Liliana Nikiteanu (Ramiro), Cristoph Strehl (Belfiore), Rudolf Schasching
(Podestà), Gabriel Bermudez (Nardo), Orchestra "La Scintilla"
der Oper Zürich, Nikolaus Harnoncourt
5
- Britt-Marie Aruhn (Sandrina), Eva Pilat (Arminda), Anna Christina
Biel (Serpetta), Annika Skoglund (Ramiro), Richard Croft (Belfiore),
Stuart Kales (Podestà), Petteri Salomaa (Nardo), Drottningholm
Court Theatre, Arnold Östman
6
- Helen Donath (Sandrina), Jessye Norman (Arminda), Ileana Cotrubas
(Serpetta), Tatiana Troyanos (Ramiro), Werner Hollweg (Belfiore), Gerhard
Unger (Podestà), Hermann Prey (Nardo), NDR SO, Schmidt-Isserstedt
Mozart's
early venture into Italian comic opera shows the young conductor's imagination
at its most ebullient, trying lots of different brushstrokes and, if
he found some criticism around the première in Munich, those
involved the fact that there was an extraordinary abundance of beautiful
arias (instead of a handpicked few for the prima donna and the primo
uomo). Of course, the very experimental nature of the work involves
some misfiring, especially in what regards timing.
La
Finta Giardinera has first been taken to studios in German in the shape
of a Singspiel
(with which this opera has nothing to do).
Before
the complete score in Italian was found, there were only the set numbers
in German. Some dialogue was provided and and the charming title Die
Gärtnerin aus Liebe has been been concocted. Hans Schmidt-Isserstedt's
conducting belongs to the slow and gracious Mozart performance practices
era, but at least he tries not to make it overheavy. For once in the
discography, a chorus has been hired too. Although it is rarely used
in the opera, its appearance solves the schyzophrenic situation of having
soloists saying how they are happy when singing together and how they
are miserable only two minutes afterwards when singing alone in the
middle section of the introduction. Truth be said, the reason why this
recording still retains its interest is the all-star cast here gathered.
Helen Donath may be on the soubrettish side in the prima donna role,
but her crystalline soprano is always a pleasure to the ears. In the
mezzo carattere role, Jessye Norman brings her natural vocal glamour
and lots of personality. Although the standards are very high, I guess
everyone will agree that it is Ileana Cotrubas who steals the show in
the soubrette role - a thoroughly delightful performance. Tatiana Troyanos
is also lovely in the castrato part, which sits a bit low in her range,
though. Werner Hollweg is in splendid shape as Belfiore (probably his
best recorded performance), while Gerhard Unger offers an echt Spieltenor
version of the part of the Podestà. Last but definitely not least,
Hermann Prey is simply irresistible as Nardo.
Leopold
Hager has the honour of recording the complete original Italian version
for the first time. The whole performance has a well-behaved atmosphere,
but tempi tend to be flowing and spontaneous. Only the mood shifting
in the finali is an art that eludes completely the conductor. The cast
is a curious mix of the acceptable and the excellent. For example, Brigitte
Fassbaender offers the definitive performance of the role of Ramiro
and no other tenor makes so much of the Podestà's music as the
spirited firm-toned Ezio di Cesare. Barry McDaniel's performance in
the role of Nardo is an example of subtle and stylish buffo singing.
Even in his Mozartian days, Thomas Moser's voice had a hint of instability.
However, this resourceful singer employs a wide range of tone colouring
and raises to the challenge of Da Scirocco a Tramontana as
no other tenor in this discography. Lilian Sukis is a decent Arminda,
but it is a pity, though, that both Julia Conwell and Jutta Renate-Ihloff's
sopranos sound kitsch and a bit edgy. Where were Arleen Augér
and Lucia Popp those days?
Nikolaus
Harnoncourt is the conductor who took La Finta Giardinera to the world
of historically informed performances. Here everything sparkles and
the conductor's costumary concern with details fits a score in which
the composer tried to impress through his attention to details. In the
prima donna role, Edita Gruberová cannot help outshining all
other Sandrinas. Even in the less inspired moments, this superb Mozartian
brings to the fore the most diminute atom of interest. Dawn Upshaw's
Italian has a distinct American accent, but that does not prevent her
from giving zest to her phrasing and even to the text. A charming performance.
Next to these imaginative sopranos, Charlotte Margiono sounds a bit
tentative as Arminda - her tone too smoky, her characterization quite
pallid. Nonetheless, this is a stylish performance that does not spoil
the fun at all. The same cannot be said of Monica Bacelli. Ramiro gets
some of the most charming arias in the score, but one barely notices
that here. Uwe Heilmann's boyish tenor is a bit too noble for Belfiore
and playing the cad is a bit outside his scope. Also, the low tessitura
challenges him sometimes. That said, his tone is pleasant all the way
and he deals beautifully with his divisions. Here given the role of
the Podestà, Thomas Moser misses the verbal buoyance of idiomatic
Italian, but compensates that with thoroughly sung account of his arias,
relishing the extra power of his tenor for effects. Anton Scharinger
is a solid Nardo, but fails to produce the right impression of an Italian
buffo.
For
a while, the only Finta Giardiniera in video came from Drottiningholm.
As usual in that venue, the staging tries to reproduce the style of
the XVIIIth century and does that beautifully, but this opera needs
a better cast and stronger orchestral sound - otherwise, it may be a
quite tiring experience. Britt-Marie Aruhn, Eva Pilat and Annika Skoglund
are below standard. Anna Christina Biel is not first-level either, but
her voice and herself are very pretty. The tenors are excellent, though,
but it is Petteri Salomaa who steals the show, with a firm baritone
and excellent commedy skills.
Nikolaus
Harnoncourt would visit again La Finta Giardiniera, now on a video from
Zurich, imaginatively staged by Tobias Moretti. The story has been brought
to the modern days with discutable success, but costumes and settings
are elegant and the stage direction is first-rate. Live at the theatre,
Harnoncourt shows more flexibility than on CD, but that also means that
some of the studio polish is lost, especially when some singers indulge
in theatrical effects that disturb Mozartian lines, notably Rudolf Schasching,
whose singing-style belongs rather to operetta than to Classical opera.
By the way, I could not get why many lines in recitatives are spoken
instead of being sung. Considering that there is only one Italian in
the cast, the gain is really dubious. In the role of Sandrina, Eva Mei
pulls out a lovely and stylish performance. As Arminda, Isabel Rey employs
the kind of energetic singing that does not fit exactly her voice. The
result is loss of tonal quality. She more than compensates that with
her amazing comedy skills - she certainly has seen her Almodóvar
movies... Julia Kleiter really goes for the sexy soubrette approach,
but her voice is really too noble for this kind of role, as if Pamina
decided to sing the other duet with Papageno. Liliana Nikiteanu (here
deprived of her beautiful act II aria) is a creamy-toned Ramiro, not
up to Fassbaender's standards, but certainly the best since then. As
much as his Arminda, Cristoph Strehl's amazing acting skills interfere
somehow with his phrasing. The results are unfortunately incompatible
with legato. Gabriel Bermúdez is an incisive and forceful Nardo.
Doris
Dörrie's production from the Salzburg 2006 Anniversary Festival
is a controversial entry in the discography. It is indisputable that
a great deal of the director's creative ideas have more to do with "making-it-funny-for-the-audience"
than with the work's inner structure: the ballet staging Violante and
Belfiore's fight during the ouverture does not go with the music, setting
the opera in a kind of House and Gardening store does not go with the
plot, the fact that Sandrina and Nardo are dressed in XVIIIth century
costumes does not go with sense (they are supposed to run undercover...)
- BUT if you overlook all that (and there is really a lot to overlook,
especially dancing flowers) most of what you see is indeed funny and
makes good profit of the cast's acting skills. Moreover, the show does
not look ugly at all. Ivor Bolton is a reliable conductor and knows
how to keep interest going. His orchestra is less colourful and his
approach is less vital than Harnoncourt's, but the necessary elements
are here, if you are ok with the generous amount of cutting made in
the score (far more adventurous than in the other videos). Véronique
Gens is a formidable Arminda, sung in her extra velvety flexible soprano
- and her whole attitude works really well to this comically arrogant
socialite. Adriana Kucerová is also cast from strength as Serpetta.
Her energetic and sensuous singing is everything this role ask for,
not to mention she is a naturally gifted actress. Only Alexandra Reinprecht's
grainy soprano is far from beguiling, but usually reliable in the prima
donna role. It is also sad that Ruxandra Donose's smoky mezzo-soprano
is a bit out of sorts for Ramiro. Even unglamourously dressed, she seems
to know what her role is about. John Mark Ainsley is beautifully cast
as Belfiore. I was tempted to say probably the best in the discography,
but the truth is that almost all the difficult arias have been cut in
this edition (and there is always Werner Hollweg in the German version).
John Graham-Hall's tenor is far from mellow, but all that is used to
his advantage to create a ludicrous self-important Podestà -
and he is far more adventurous with decoration than his rivals. Markus
Werba is a strong unfussed Nardo.
top
~Idomeneo
1 - Edith Mathis (Ilia), Julia Varady (Elettra), Peter Schreier (Idamante),
Wieslaw Ochmann (Idomeneo), Leipzig Rundfunkchor, Staatskapelle Dresden,
Karl Böhm
2
- Margherita Rinaldi (Ilia), Pauline Tinsley (Elettra), Ryland Davies
(Idamante), George Shirley (Idomeneo), BBC Chorus and Symphonic Orchestra,
Colin Davis
3
- Barbara Hendricks (Ilia), Roberta Alexander (Elettra), Suzanne Mentzer
(Idamante), Francisco Araiza (Idomeneo), Uwe Heilmann (Arbace), Bayerischer
Rundfunk Symphonie Orchester und Chor,
Colin Davis
4
- Henriette Bonde-Hansen (Ilia), Raffaela Milanesi (Elettra), Kristina
Hammarström (Idamante), Christian Elsner (Idomeneo), Cristoph Strehl
(Arbace), Danish National Choir, The Danish Radio Sinfonietta, Adam
Fischer
5
- Sylvia McNair (Ilia), Hillevi Martinpelto (Elettra), Anne Sofie von
Otter (Idamante), Anthony Rolfe-Johnson (Idomeneo), Nigel Robson (Arbace),
The Monteverdi Orchestra, English Baroque Soloists, John Elliot Gardiner
6
- Rachel Yakar (Ilia), Felicity Palmer (Elettra), Trudeliese Schmidt
(Idamante), Werner Hollweg (Idomeneo), Kurt Equiluz (Arbace), Opernhaus
Zürich Chor und Mozart-Orchester, Nikolaus Harnoncourt
7
- Ileana Cotrubas (Ilia), Hildegard Behrens (Elettra), Frederica von
Stade (Idamante), Luciano Pavarotti (Idomeneo), John Alexander (Arbace),
Metropolitan Opera Orchestra and Chorus, James Levine
8
- Heidi Grant Murphy (Ilia), Carol Vaness (Elettra), Cecilia Bartoli
(Idamante), Plácido Domingo (Idomeneo), Thomas Hampson (Arbace),
Metropolitan Opera Orchestra and Chorus, James Levine
9
- Lisa Milne (Ilia), Barbara Frittoli (Elettra), Lorraine Hunt (Idamante),
Ian Bostridge (Idomeneo), Anthony Rolfe-Johnson (Arbace), Scottish Chamber
Orchestra and Chorus, Charles Mackerras
10
- Juliane Banse (Ilia), Annette Dasch (Elettra), Pavol Breslik (Idamante),
John Mark Ainsley (Idomeneo), Rainer Trost (Arbace), Chor und Orchester
der Bayerischen Staatsoper, Kent Nagano
11
- Ekaterina Siurina (Ilia), Anja Harteros (Elettra), Magdalena Kozená
(Idamante), Ramón Vargas (Idomeneo), Jeffrey Francis (Arbace),
Salzburger Bachchor, Camerata Salzburg, Roger Norrington
12-
Anna Christina Biel (Ilia), Anita Soldh (Elettra), Richard Croft (Idamante),
Stuart Kales (Idomeneo), Drottningholm Court Theatre Orchestra and Chorus,
Arnold Östman
13
- Sena Jurinac (Ilia), Lucille Udovick (Elettra), Léopold Simoneau
(Idamante), Richard Lewis (Idomeneo), James Milligan (Arbace), Glyndenbourne
Festival Chorus and Orchestra, John Pritchard
14
- Lucia Popp (Ilia), Edita Gruberová (Elettra), Agnes Baltsa
(Idamante), Luciano Pavarotti (Idomeneo), Leo Nucci (Arbace), Wiener
Staatsopernchor, Wiener Philharmoniker, John Pritchard
15
- Anneliese Rothenberger (Ilia), Edda Moser (Elettra), Adolf Dallappozza
(Idamante), Nicolai Gedda (Idomeneo), Peter Schreier (Arbace), Leipzig
Rundfunkchor, Staatskapelle Dresden, Hans Schmidt-Isserstedt
Before
we start to talk about the recordings, there are some important details
to be explained here. Idomeneo had its première in Munich, where
the role of Idamante was sung by a soprano castrato. Among many other
cuts made by the composer BEFORE the first performance, there is the
famous aria DOreste, dAjacce. Later, Mozart wanted
to revise the opera, but he NEVER succeded into doing it (his idea was
casting Idomeneo with a bass), but there was indeed a concert performance
in Vienna, where the role of Idamante was taken by a tenor. For that
performance, Mozart composed a new duet for Ilia and Idamante to replace
the old one and a new aria for the later role, Non temer, amato
bene, with violin obligatto. All the recordings listed above are
not comprehensive about the two editions, but for Harnoncourt's if one
buys the complementary disc, where Francisco Araiza sings the tenor
Idamante music. Gardiner has all the music Mozart cut before the première
and some extra material. The usual edition is the Munich with the big
arias cut before the première, the above mentioned Elettras
DOreste, dAjacce, Idamantes No, la morte
io non pavento and Idomeneos Torna la pace.
Idomeneo
is a difficult opera for a short discography - the old recordings tend
to be surprisingly good for their age. I would say that the old Pritchard
suffers from some outdated casting (Lewis and Udovick) and cuts, but
Jurinac sings beautifully as Ilia (and is in richer if less fresh voice
than in the Fritz Busch highlights) and Léopold Simoneau is a
stylish but rather mannered Idamante.
The
first Colin Davis was a first encounter with this opera for many mozartians.
It adopts a strange edition, though. Ryland Davies sings the "soprano"
Idamante music transposed, which is a bit shocking, because it changes
the intervals in his duet with Ilia, for example. Anyway, his is a decent
performance and, even if the results are not exactly stylish, George
Shirley as Idomeneo deserves to be "bravo"-ed for deciding
to sing the florid version of Fuor del mare. The neglected Margherita
Rinaldi is lovely as Ilia, but Pauline Tinsley is singing Elektra and
not Elettra.
Karl Böhm's studio recording is hardly a number one choice for
this opera for a series of reasons. To start with, a strange edition
is adopted. Because of the tenor Idamante, Spiegarti non poss'io
is preferred, as it should, to S'io non moro and the exquisite
aria with violin obbligato, Non temer, amato bene, is included.
Although No, la morte and Torna la pace do not appear
here, the other aria deleted for the première, D'Oreste,
d'Ajacce is retained. However, the most exotic feature is the trimming
made all over the place in recitatives and some numbers, such as Fuor
del mar. That said, those who admire the sound of the Staatskapelle
Dresden are certainly going to find some interest here. The Wunderharfe
is at its best, at once grand and flexible. Some of the public scenes
are indeed admirable - the lush articulate phrasing from strings perfectly
balanced to woodwind. The conductor generally adopts comfortable but
plausible tempi, but some key numbers do sound arthritic, such as Non
ho colpa. The overall effect is too polite and not really dramatic.
As a result, Elettra sounds entirely misplaced in this performance.
Her arias sound completely disengaged - and, contrary to one might imagine,
Julia Varady is of little help. She does have all the vocal, technical
and dramatic requirements to sing the role, but here seems to be sleepwalking.
In both her rage arias, she sounds tentative and unaware of what is
going on. Even Idol' mio is bloodless and ungracious. In other
world is Edith Mathis, in one of her best recorded performances. She
is an urgent, stylish and technically accomplished Ilia, offering exemplary
renditions of her arias and even showing a passion and sensuousness
not usually associated to her in the duet with Idamante. In this role,
Peter Schreier delivers a capable and musical performance, but his dry
tone and hard-angled phrasing are far from ingratiating. For that matter,
Wieslaw Ochmann is also too well-behaved and a bit nasal and too clumsy
with passagework to produce the right effect as Idomeneo. He lacks authority
and it seems Arbace has been promoted to the leading role. As a matter
of fact, Hermann Winkler does sound more imposing than both the other
tenors in this recording, although his manners as a Mozartian might
be rather dubious.
The same forces had been employed six years before by Hans Schmidt-Isserstedt
in his EMI studio recording, an uninspired affair redeemed only by the
Staatskapelle Dresden superb playing. The edition is surprisingly inclusive
for its age, but internal cuts in recitatives and some numbers have
been made. Anneliese Rothenberger's soprano is sometimes too vibrant
for Mozart and her phrasing could be more precise. Unfortunately, Edda
Moser is rather ungaily as Elettra. The only moment when one feels her
musically and dramatically connected happens to be D'Oreste, d'Ajacce,
but even then it all sounds quite mechanical. As Idamante, Adolf Dallappozza
is the only member of the cast remotely connected to the theatrical
action. He has a good sense of Mozartian style, but that seems to be
more a straight-jacked than a pleasure to him - also his intonation
might be suspicious now and then. Nicolai Gedda is surprisingly unconcerned
as Idomeneo, ill at ease and imprecise in his phrasing. Peter Schreier
is a reliable Arbace. With the exception of Gedda, these singers have
little feeling for the Italian language, what makes recitatives an ordeal
for most listeners.
It
is particularly nice of Luciano Pavarotti to say that Idomeneo is his
favourite part. I know it is not fashionable to say that Pavarotti is
a very good singer, but...well... he is! And his Idomeneo is lovingly
sung and I could agree with him that it is his best recording. He does
not tackle the florid Fuor del mare, but the simple version
is authentic Mozart too. Anyway, nobody sings as beautifully as he does
in this role, not to mention that the emotional range is wider than
with the other tenors. It was a happy coincidence that he decided to
record it in such good circumstances. Although John Pritchard's tempi
are a bit on the slow side, the Vienna Philharmonic's glittering and
articulate phrasing adds zest to the performance. Also, the chorus brings
real sense of theatre to it. Lucia Popp is the most expressive Ilia
on discs and is in warm voice. Edita Gruberová outshines all
other Elettras, sweetly lyrical in Idol mio and powerful
in her two arie di furia. Agnes Baltsa is not in the level of her colleagues,
only because her voice is not as beautiful as theirs, but is very exciting
in the other aspects of her performance. The idea of casting Arbace
with a baritone is eccentric, but, considering all the odds, Leo Nucci
is quite sucessful - it is quite strained, but the voice is noble and
the coloratura is efficient.
Predictably,
Nikolaus Harnoncourts recording is revelatory. It is a fantastic
performance where everything comes into frame. He plays the score exactly
as it was heard in the Munich première, but, if you buy the complementary
disc, you get everything you need - the music cut before the première
and the Vienna Idamante tenor music. In its days, Idomeneo was considered
a poignant dramatic experience, a music capable of "freezing someone
under the midday sun", as a contemporary reviewer said. The Harnoncourt
is the performance that makes that happen. Rachel Yakar is
not a lovely Ilia, but is dramatically concerned. It is a pity that
she is in her "explosive" mood, shouting a bit her
top notes. Also, Werner Hollwegs voice is at its most nasal here,
but he copes well with the virtuosistic demands made on him. Felicity
Palmer, even in a role high for her voice, is an impressive Elettra.
She sounds waspish enough in her first and third arias, delicate in
Idol mio and her pianissimo singing in Placido è
il mar would melt a heart of stone... Trudeliese Schmidt is the
tormented Idamante. Some accuse her of forcing a bit (including her
pitch), but she goes straight in the heart of her role, expressing Idamantes
predicament better than most of her more famous rivals. In the complementary
disc, Francisco Araizas singing as Idamante is of surpassing beauty.
His Non temer is the best piece of tenor singing in the Mozartian
repertoire I have ever heard. Maybe Harnoncourt should have invited
him to sing Idomeneo. Simon Estes is the most impressive oracle in the
discography. Sadly, Kurt Equiluz was out of voice for Arbace.
The
Metropolitan Opera video of Idomeneo is a complex affair. The circumstances
are rather un-Mozartian, but what James Levine did here is an evidence
of his talents. The sum is really more than the parts here - his Idomeneo
has a real tragic atmosphere, in the classical sense of it. Close to
the limits of acceptability in Mozart, he builts a really cathartic
experience - Jean-Pierre Ponnelles staging has a lot to do with
it. The cast makes no sense on paper, but works rather well as a team.
Ileana Cotrubas was not in her freshest voice, but the generosity and
good taste of this great singer help to make her an engaging Ilia. Hildegard
Behrens is the very essence of controversial casting. It is the kind
of thing we go to the theatre to boo, but takes us by surprise and suddenly
we catch ourselves shouting "brava" with full enthusiasm.
The purity of her high notes and sheer energy, not to mention involvement
with her character, almost make us overlook poor Italian, clumsy phrasing
and passaggio problems. I would not listen to it without the images,
but it is an exciting and dramatic performance as a whole. Frederica
von Stade starts a bit anonimously, but raises wonderfully to a fantastic
sacrifice scene - if you are not moved by that, you do not have a heart.
Luciano Pavarotti is a noble Idomeneo as always - his phrasing is not
as careful as in Vienna, though, especially in Torna la Pace,
but he is as expressive as in the studio and interacts beautifully with
all his colleagues. John Alexanders Arbace is interesting, considering
his age - but only if you consider that.
James
Levine would later record Idomeneo in studio, again with the Metropolitan
Opera. His reading of the score has gained in concentration and stylishness
while keeping all the dramatic impact. As a matter of fact, the orchestra
is in better shape than in the video - and DG's warm spacious and clear
recording helps to create the sumptuous atmosphere of this performance.
If you want a 100% power Idomeneo which is Mozartian nevertheless, this
is your recording. The overripe and overblown choral singing is the
only element which may raise an eyebrow, but certainly adds to the excitement
of public scenes. As Ilia, Heidi Grant Murphy displays a healthy technically
accomplished voice, but the tone could be warmer and the expression
more generous. Carol Vaness brings impressive resources to the role
of Elettra, with her deluxe soprano - big, creamy and flexible. Sometimes,
the vibrato could be under better control, but she is a charismatic
performer and always sounds interesting in this difficult role. In one
of her best recorded Mozart performances, Cecilia Bartoli is an entirely
successful Idamante. Not only is she in superb voice, but also sings
with imagination and sensitivity throughout. This is probably the most
moving account of the sacrifice scene ever recorded. Plácido
Domingo's purity of line eschews any idea of miscasting. The tone is
noble, beautiful, rich, firm and powerful. He sings the simpler version
of Fuor' del Mare and - most unfortunately - avoids Torna
la Pace. His acquaintance with Italian language does make difference
in recitatives (which here are given all the time they need), but the
tone colour tends to be unvaried. Thomas Hampson is a forceful Arbace,
amazingly at ease in the tenor tessitura. Naturally, there is some tension
in his singing, but it is used to expressive purposes. Frank Lopardo
sings indifferently as the High Priest, but Bryn Terfel is an impressive
Oracle.
The
Drottningholm video is the exact opposite of the Metropolitan, but,
curiously, its sounding so Gluckian makes it effectively dramatic. In
any case, you cannot make an Idomeneo with one good tenor (Richard Croft
as Idamante) and a decent one (Stuart Kales as Idomeneo). The rest of
the cast is simply inacceptable. It is a pity that Arnold Östman,
such a skilled Mozartian, who has been sheding so much light into Mozartian
repertoire, has been denied really good casts in his Drottningholm theatre.
John
Eliot Gardiner's Idomeneo has been warmly
received by reviewers in England and in France. He offers beautiful
orchestral playing and appropriate tempi throughout. Although there
is plenty of purpose in his conducting - well judged tempi and excellent
choral singing too - some important moments are underplayed and emotionally
tame, such as Ilias opening recitative Idol mio and the
recitative before Ilia and Idamantes duet. This may have to do
to Gardiners sprightly phrasing, which is - true - in keeping
with the tragédie lyriques influence on Mozart - but this
work has exactly the historical importance of taking profit of the French
and Italian tradition to create a highly theatrical, dramatic and emotional
experience. And this is not always the case with Gardiners charming
performance. The cast has two major performances - the wonderful Idomeneo
of Anthony Rolfe-Johnson, inferior to Pavarotti only in beauty of voice
and in idiomatic quality, but really superior in coloratura and also
more stylish. The other beautiful performance is Sylvia McNairs
Ilia - very delicate and sensitive singing. Unfortunately, Hillevi Martinpelto
is so subtle as Elettra that you barely notice she is there. As for
Anne Sofie von Otters Idamante, beautifully as she sings, I am
afraid the results are unconvincing. It lacks real energy and she does
not sound boyish for one second.
Colin Davis's second
recording is a puzzling performance. His reading of the score has mellowed
and the plummy playing of the Bavarian Radio orchestra adds to the overall
well-behaved impression. Although Philips has provided natural clear
recording, slow tempi plus underarticulated phrasing result in a sense
of lack of forward movement. The uninvolved choral singing finally undermines
any theatrical feeling this performance could have. Just compare Nettuno
s'onori in the also not particularly animated Pritchard recording
with the Vienna Philharmonic, and the Viennese performance will sound
really energetic. Barbara Hendricks's soprano may not be ideally pure,
but her singing is full-toned and consistently lovely and a generalized
melancholy is an almost acceptable ersatz for real interpretation. Roberta
Alexander's golden-toned Elettra may be the most sensuous in the discography,
but but this does not make for the fact that the part is too high for
her voice and the resulting problems with pitch. She has her screechy
moments too. Suzanne Mentzer is an engaged Idamante, but her singing
is effortful and the tone is quite uningratiating. Francisco Araiza
is a distinguished Mozartian who knows how to infuse his lines with
true sensitivity and stylishness, but the tone is puffed-up, what is
particularly harmful for his top register unless when he is singing
mezza voce. The result is often unfocused and the tone has its less
than glamourous moments. Also, his high lying cadenze are woefully misguided.
Uwe Heilmann is an acceptable Arbace, not entirely at ease with his
more than reasonable resources. All in all, the most interesting feature
of the recording is the adoption of Daniel Heartz's edition, which comprises
all the arias composed for Munich, although some are to be found in
the appendix. Most interesting of all is the replacement bars for the
Ilia's entrance on the sacrifice scene. Instead of the usual comment
by Elettra (Oh, qual contrasto...) we get an exciting passage
in which Ilia and Idamante dispute to be the sacrificial victime.
Charles
Mackerras's recording has received excellent reviews and certainly is
one of the best Mozart opera recordings to be released for a long while.
The lifelong experience of the Australian conductor shows in every bar
of the score. Every expressive, stylish and musical point is taken -
this is probably the recording where the beauty of the music of Idomeneo
is more evident. Even so, sometimes I miss Harnoncourt's extra panache
(and roughness). Also, the recorded sound could be 5% less favourable
to singers. The edition is also very comprehensive, including all the
big arias and the final ballet. Also, this certainly is the best cast
ever given to a Mozart opera recorded with this great Australian conductor.
Lisa Milne has a bit of Lucia Popp and a bit of Barbara Hendricks in
her fresh voice and is urgent enough - a charming performance. Although
Barbara Frittoli's tone lacks repose and focus for Mozart repertoire,
she is technically accomplished, stylish and has an amazingly comfortable
long range. Also, being a native speaker, she offers a wholly idiomatic
waspish Elettra. I've said that Lorraine Hunt's voice is taylor-made
for castrato roles and here she offers an unblemished performance of
Idamante, sung with sensitivity and avoiding femininity. Although Ian
Bostridge's voice is light for the role of Idomeneo, he does have a
serviceable low register, which is the key element for a good performance
of this role. Also, he sings with authority, sensitivity and stylishness
- his Fuor del Mar is a technical display. Anthony Rolfe-Johnson
is probably the best Arbace in the discography, but he certainly exposes
the lightness of his Idomeneo.
Adam Fischer's recording is hard to define. On one hand, those who
prefer Mozart played on traditional instruments will delight in the
Danish Radio Sinfonietta's rich, flexible and perfectly blended sound.
On the other hand, the conductor's fancy for playing with tempo might
disturb them. He is always an imaginative conductor and has a particularly
good ear for tone colouring, but a backbone is seriously lacking in
this performance, as if an individual approach has been set for each
number separatedly never to form a whole integrated concept. Hence the
difficulty to define the target audience. Henriette Bonde-Hansen's fruity
soprano is taylor-made for Ilia, and she sings the part with affection.
Raffaella Milanese is probably the lightest-toned Elettra in the discography.
Her slightly nervous soprano and her native Italian stands for a dramatic
temper, but the truth is she rarely sounds natural with this vocalità,
although she seems very much at ease with the (difficult) music she
has to sing. Kristina Hammarström's velvety mezzo works beautifully
for Idamante, here grant No, la morte. Christian Elsner's rich,
focused and pleasant tenor makes him on paper a very good idea for Idomeneo,
but a consistently bleached out high register robs him of all spontaneity.
This does not prevent him from trying the fioriture in Fuor del
mar, but might have something to do with the deletion of the second
verse of the prayer to Neptune. His interpretation gravitates around
sounding noble and sensitive and his Italian is very good. Taking the
role of Arbace, Christian Strehl gives here his best recorded performance,
tackling both his arias with bravura and good taste. A fourth CD offers
the usually deleted ballet music.
Released as part of the Salzburg Mozart 250th Anniversary Festival
in 2006, Roger Norrington's live from the House for Mozart makes a compelling
entry in the discography. I felt tempted to write "videography",
but the truth is that the visual aspects of this performance are entirely
forgettable. Ursel and Karl-Ernst Herrmann's production is ultimately
harmless - the settings are reduced to elementary aspects and, except
from the amazingly silly idea of having an omnipresent actor playing
the part of "Neptune" grimacing to the other members of the
cast and the audience, nothing really worth of mention actually happens.
As a matter of fact, having the orchestra placed down in a pit dug in
the middle of the stage does limit the available space for acting and
the cast is usually obliged to take the circuit. I should say that the
most bothersome problem of this "clean style" staging is that
the important element of monumentality which lies in the core of what
opera seria is is entirely absent here. The fact that the sound of the
reliable Camerata Salzburg might sound too intimate for the public scenes
concurs to that impression. Worse than that, probably because the members
of the chorus are kept overbusy, the choral singing is a bit all over
the place, lacking clarity and definition. That said, Roger Norrington's
lifelong experience guarantees high musical and theatrical standards:
he is aware of what is the meaning of the musical elements in the structure
of each number and knows how to present them to the audience without
any kind of self-conscious interference. This is certainly a performance
in which Mozart's ideas come through beautifully. Its purposefulness,
transparence, structural clarity are indeed admirable. To make things
even better, it is also splendidly cast. Ekaterina Siurina's virginal
bell-like soprano soars effortlessly and stylishly. The very lightness
of her voice might want some warmth, but this seems to go with the girlish
approach to the role of Ilia in this production. On the other hand,
although Anja Hartero's rich soprano is not necessarily ear-friendly,
she is a capable Elettra, more comfortable floating her voice through
the high tessitura of Idol mio and the ensuing solo in Placido
è il mar than in her rage arias, when she has to distort
her tone for the right effect otherwise achieved through her intense
stage presence. The first impression of Magdalena Kozená's Idamante
is that her voice is too lovely for a trousers role, but this is soon
dispelled by her sensitive and inspired performance, lovely to the ears
and touching to the heart. Her recitatives are particularly successful.
It is a pity that her costumes and hairstyle do not help to create a
masculine impression, but rather make her look bizarre. Finally, Ramón
Vargas sings the title role in state of grace. His voice is simply beautiful,
his singing is rich and entirely free of constraints, he knows Mozartian
style and is always expressive. Even in the florid writing of Fuor
del mar, he is always musicianly and spontaneous. Predictably for
a tenor used to bel canto, his decorations tend to take him upwards.
It is really sad he has not been grant the opportunity to sing Torna
la pace. It would have made far more sense than the inclusion of
a reduced version of the ballet music for a pointless pantomime for
Ilia, Idamante and the chorus. Other curious editorial choice is the
deletion of Arbace's first aria and its replacement for his second aria
(what makes for an amazing overreaction: the character sounds desperate
when he should be concerned at most). From the optional arias, only
D'Oreste, d'Ajacce is retained.
IN
CONCLUSION: If you want it in modern instruments, go for Levine with Domingo,
Vaness and Bartoli. If you want it in period instruments, Harnoncourt is the one
to have (dont forget the complementary disc with Araizas exquisite
Idamante). A safe buy would be MacKerras all-round satisfying performance, but
if you like adventure, the Levine video is a must.
top
~Lucio
Silla
1 - Lella Cuberli (Giunia), Christine Barbaux (Celia), Britt-Marie
Aruhn (Cinna), Ann Murray (Cecilio), Anthony Rolfe-Johnson (Silla),
Ad van Baasbank (Aufidio), Choeur et Orchestre du Théâtre
Royal de la Monnaie, Sylvain Cambreling
2 - Simone Nold (Giunia), Susanne Elmark (Celia), Henriette Bonde-Hansen
(Cinna), Kristina Hammarström (Cecilio), Lothar Odinius (Silla),
Jakob Naeslund Madsen (Aufidio), Vocal Group Ars Nova, Danish Radio
Sinfonietta, Adam Fischer
3
- Arleen Augér (Giunia), Helen Donath (Celia), Edith Mathis (Cinna),
Julia Varady (Cecilio), Peter Schreier (Silla), Werner Krenn (Aufidio),
Salzburg Mozarteum, Leopold Hager
4
- Edita Gruberová (Giunia), Dawn Upshaw (Celia), Yvonne Kenny
(Cinna), Cecilia Bartoli (Cecilio), Peter Schreier (Silla), Vienna Concentus
Musicus, Nikolaus Harnoncourt
5
- Annick Massis (Giunia), Julia Kleiter (Celia), Verónica Cangemi
(Cinna), Monica Bacelli (Cecilio), Roberto Saccà (Silla), Stefano
Ferrari (Aufidio), Orchestra e coro del Teatro La Fenice, Tomás
Netopil
Although Leopold
Hager's is a traditional view of the score, the performance has nothing
ponderous about it: tempi are generally flowing and there is a splendid
cast. Arleen Augér is a light-toned, flexible and stylish Giunia,
particularly touching in the graveyard scene. Julia Varady is at her
best in the castrato role of Cecilio, and having two sopranos as prima
donna and primo uomo brings an almost Straussian scintillating quality
to their duet. Edith Mathis's energetic singing fits the role of Cinna
and, although Peter Schreier's approach is too Germanic, his naturalness
in low tessitura is more than compensation. Only Helen Donath could
be less soubrettish in the role of Celia, even if her bell-like soprano
is pleasant all the way.
Nikolaus Harnoncourt
also has an excellent cast and offers a theatrical and eloquent performance,
eschewing shallow gracefulness and going straight to the heart of the
matter. Edita Gruberová is in brilliant form and her forceful
divisions grant Giunia more strength of convicion in her strette than
we are used to hear. Dawn Upshaw is beguiling as the lighthearted Celia.
Her Se lusinghiera speme is delightful. I have to say that
this is one of Yvonne Kenny's strongest performances. Although the tone
is unmistakably high, she sings so forcefully that it makes us believe
she is singing a male role. The young Cecilia Bartoli is an expressive
Cecilio and teams splendidly with Gruberová for the fireworks
of the act II duet. Peter Schreier is not in good voice and his Italian
is very poor, but the role (the title role, believe it or not) is uninteresting.
It must be pointed out that the edition adopted here involves extensive
cuts, culminating with the deletion of the role of Aufidio.
Adam Fischer is an imaginative conductor who displays a thought-through
approach to every number of the score (here trimmed in its recitatives),
richly aided by the virtuoso playing of the Danish Radio Sinfonietta,
warmly recorded. Some may point out that the conductor's investigations
are often illuminating in what regards musical values, but not always
so in the dramatic aspects. Because of that, some moments might sound
artiffical and inorganic. The chiaroscuro concept of the graveyard scene,
exploring extremes of dynamics and tempo, is the perfect example of
that. The disconnection between musical and theatrical values is highlighted
by the fact that the thoroughly stylish cast may sound oratorio-like
and unexciting now and then. Simone Nold's floated delicate lyric soprano
takes readily to coloratura, but might lack substance when Giunia's
lines get too high and too fast. Kristina Hammaström is a capable
and firm-toned if rather blank Cecilio. Similarly, Susanne Elmark fulfills
the basic requirements for Celia, even if the results lack variety.
On the other hand, Henriette Bonde-Hansen handles Cinna's florid writing
with aplomb and animation - and no other Silla in this discography can
boast to have a voice as pleasant as Lothar Odinius's, not to mention
his Italian is far more spontaneous than Peter Schreier's.
Sylvain
Cambreling's performance, in the Brilliant Classics complete edition,
is a mere curiosity, recorded in a boxy perspective laden with stage
noises. Cambreling offers apt tempi, but nothing overwhelmingly good
as to compensate for an uninspired cast. Lella Cuberli is probably the
best singer here, creamy-toned if a bit rough in the role of Giunia.
Christine Barbaux is sweet-sounding but her style is a bit tacky. Ann
Murray is not in her best shape - edgy-toned and her top notes spread
a lot. Britt-Marie Aruhn has a rather unsubstantial voice, but adept
in coloratura. In her first aria, she sings the most misguided cadenza
ever caught by a microphone. Unfortunately, Anthony Rolfe-Johnson was
also below his usual excellent standards.
Again
the Salzburg Mozart 250th Anniversary Festival has opened the videography
of an early opera by the composer. Jürgen Flimm's staging is curiously
similar to an early rehearsal in which lots of possibilities are being
tried at once- and costumes, sceneries and acting postures are experimented
in an inorganic and incomplete way. As a result, we are treated to a
sketch of a scenery where all the characters pursue different actions
at the same time and public and intimate scenes are all mixed in a not
entirely logical way. That said, the director certainly deserves compliments
for his ability to coax his singers to act as enthusiastically as they
do here. Also, his solution for the finale ultimo's volte-face is most
creative if a bit too sudden. Although Annick Massis has a rather faceless
and shallow-toned start, she develops steadily to intense and technically
exuberant accounts of her showpiece arias in act II and III. Monica
Bacelli's warm mezzo-soprano is in very good shape- and she makes sophisticated
use of the text and shows imagination throughout. This is probably her
best recorded performance. Julia Kleiter seems to be determined to prove
she is the leading Mozart soprano of her generation, presenting an all-round
perfect golden-toned performance in the role of Celia. Verónica
Cangemi's voice is a bit light for the role of Cinna, but she more than
compensates that with her energetic singing. Also, she is impressively
convincing in this breeches role. Unfortunately, Roberto Saccà's
voice has developed a glaring sound and the low tessitura does not help
him. In the tiny role of Aufidio, Stefano Ferrari shows potential in
this repertoire, displaying clean fioriture in his aria. Tomas Netopil
offers an unfussy, strong, stylish performance, obtaining transparent
and articulated sounds from his Venitian orchestra. The edition understandably
involves extensive cuts in recitative, but unfortunately Cecilio's Ah,
se a morir mi chiama and Giunia's Parto, m'affretto have been excised
too.
top
~Mitridate
1
- Luba Orgonasová (Aspasia), Lilian Watson (Ismene), Ann Murray
(Sifare), Jochen Kowalski (Farnace), Bruce Ford (Mitridate), Justin
Lavender (Marzio), The Orchestra of the Royal Opera House, Covent Garden,
Paul Daniel
2
- Henriette Bonde-Hansen (Aspasia), Lisa Larsson (Ismene), Maria Fontosh
(Sifare), Kristina Hammarström (Farnace), Mathias Zachariassen
(Mitridate), Anders J. Dahlin (Marzio), Vocal Group Ars Nova, Danish
Radio Sinfonietta, Adam Fischer
3
- Arleen Augér (Aspasia), Ileana Cotrubas (Ismene), Edita Gruberová
(Sifare), Agnes Baltsa (Farnace), Werner Hollweg (Mitridate), David
Kuebler (Marzio), Salzburg Mozarteum, Leopold Hager
4
- Yvonne Kenny (Aspasia), Joan Rodgers (Ismene), Ann Murray (Sifare),
Anne Gjevang (Farnace), Gösta Winbergh (Mitridate), Peter Straka
(Marzio), Vienna Concentus Musicus, Nikolaus Harnoncourt
5
- Netta Or (Aspasia), Ingela Bohlin (Ismene), Miah Persson (Sifare),
Bejun Mehta (Farnace), Richard Croft (Mitridate), Colin Lee (Marzio),
Les Musiciens du Louvre, Marc Minkowski
6 - Cyndia Sieden (Aspasia), Heidi Grant Murphy (Ismene), Christiane
Oelze (Sifare), Vesselina Kasarova (Farnace), Bruce Ford (Mitridate),
Toby Spence (Marzio), Camerata Salzburg, Roger Norrington
7
- Natalie Dessay (Aspasia), Sandrine Piau (Ismene), Cecilia Bartoli
(Sifare), Brian Azawa (Farnace), Giuseppe Sabbatini (Mitridate), Juan
Diego Florez (Marzio), Les Talents Lyriques, Cristophe Rousset
8
- Francine van der Heyden (Aspasia), Johannette Zomer (Ismene), Marijje
van Stralen (Sifare), Cécile van de Sant (Farance), Marcel Reijans
(Mitridate), Alexei Grigorev (Marzio), Musica ad Rhenum, Jed Wentz
Although
Leopold Hager's recordings of early Mozart operas have not been famous
for their animation, Mitridate has the dubious honour of being the less
compelling release in the Salzburg Mozarteum series. The prevailing
lack of forward movement and the well-behaved singing make this best
of early stage works by Mozart overlong and uninteresting. The part
of Aspasia is on the heavy side for Arleen Augér. It is true
that this has never prevented this singer from having stunning results
(such as in Böhm's Entführung), but here she sounds basically
unplugged. Her ease with difficult fioriture is, of course, remarkable
as usual. The casting of Edita Gruberová in the soprano castrato
role of Sifare makes it still more confusing: there is no doubt about
Gruberová's proficiency in opera seria, but hers is a prima donna,
not a primo uomo voice. Properly cast as Ismene, Ileana Cotrubas takes
advantage of the slower tempi granted by the conductor to produce creamy
legatoish phrasing all the way. Farnace is a contralto role, but the
fact that Agnes Baltsa is a mezzo does not seem to stand between her
and clean stylish phrasing. However, the results are quite tame - and
that is a quality one would not associate to a role such as Farnace.
Werner Hollweg is untroubled by the impossible writing of the title
role, but he is also at his most nasal here. The edition here adopted
is complete.
Nikolaus
Harnoncourt's video is available as a soundtrack to Jean-Pierre Ponnelle's
video, a cinematographic shot in the Teatro Olimpico in Vicenza adapted
from a stage production. It is commendable that the director tried to
revive the highly stylized aesthetics of baroque theatre, but the truth
is that the whole production shows its age: the lighting is amateurish,
the sound effects (steps and objects being thrown to the floor mainly)
are annoying and some camera angles are ultimately ludicrous (try Aspasia's
Nel grave tormento). Morover, the part of Arbate, governor of Nymphaea,
not only was practically deleted from the score, but is also given to
a boy (!). Other than that, considering this is a studio recording,
there could have been less cuts too. In the end, Harnoncourt's surprisingly
unexciting and austere approach would probably make it longer than it
does feel. The warm-toned Yvonne Kenny finds the role of Aspasia a bit
high and her top register is usually tense and hard. That said, no other
soprano in the discography displays her mastery in classical operatic
Italian declamation as she does. It is not a matter of simple idiomatic
quality, but of balancing the weight of words and the tonal quality
as beautifully as she does here. She is more than matched by the admirable
Ann Murray, who offers the definitive account of the role of Sifare.
She is at her creamiest-toned and most flexible and projects the bold,
passionate nature of her character to perfection. With her light but
round soprano, Joan Rodgers is a charming Ismene. Gösta Winbergh
is an inspired Mitridate. In the discography, tenors tend to be either
wanting or exceeding in this role, but Winbergh's tenor is taylor-made
for Mitridate. Although he has the necessary heft for this difficult
part, the dulcet quality of his voice plus his ability to float mezza
voce help him in many a tricky passage. Only Anne Gjevang seems out
of her element here. Her contralto is too plummy for a trousers role
and her lack of familiarity with Mozartian style shows in the lack of
clarity of her phrasing.
It
was a clever idea of director Graham Vick to find in the similarly formal
Japanese theatre inspiration to shed a new light in opera seria. And
this production will look refreshing compared to some German stagings
recently transferred to DVD, but it does has more than a splash of bad
taste in its plethora of basic colours. Although the Covent Garden orchestra
does not offer the last word in Mozartian refinement, conductor Paul
Daniel goes straight to the matter and produces a stylish and animated
performance. If you insist in modern instruments, this is probably your
choice. Luba Orgonasová has the perfect kind of soprano for the
part of Aspasia. She sings beautifully and knowingly throughout, if
unaffectingly. Ann Murray was fresher-toned in the Harnouncort video,
but the years have made her even more eloquent. This is certainly one
of her best roles. She is also the singer most attuned to the director's
stage concept. The always reliable Lillian Watson eschews all soubrettishness
and has a unusually high-profile approach to Ismene. Jochen Kowalski
seems to be here the counter-tenor version of Leonie Rysanek - the voice
has this smoky sensuous sound and he sings and acts with an intensity
that threatens note values and pitch, but you cannot resist his performance,
all the same. As Mitridate, Bruce Ford is splendidly heroic without
ever forcing Mozartian values. I cannot tell if it is a dramatic point
that the only Roman on stage is made to look so quaint. In any case,
Justin Lavander is not entirely at ease with his martial florid aria.
Cristophe
Rousset's studio recording on period instruments is a most satisfying
performance, more energetic than Harnoncourt's, turning a work reputed
as static into a compelling dramatic piece. The faster tempi also help
to focus the structure of the arias, especially those with florid writing.
The role of Aspasia is a bit heavy for Natalie Dessay and this may explain
why she is not as pure-toned as she usually is. Still, she has astonishing
coloratura, top notes and pianissimi and is incredibly involved dramatically.
A beautiful performance. Sandrine Piau is very charming as Ismene and,
although her tone is not as rich as Cotrubass, for example, she
compensates it by her naturality and technical fluency in the very fast
tempi chosen by the conductor. In the role of Sifare, Cecilia Bartoli
remains a sensitive performer and her coloratura is impressive most
of the time, but I am afraid her urge to sound profoundly intense makes
her already rattling mezzo sound frankly bizarre. The stage productions
had Barbara Frittoli and I believe I would have preferred that. Rousset's
idea of casting the part of Farnace with a countertenor is entirely
successful, once female altos generally sound timid having to deal with
this really low tessitura. Here in the most comfortable part of his
voice, Brian Azawa sings beautifully and, even if he does not sound
the rebel without a cause Farnace actually is, he does better than anyone
else in the discography. He could have better Italian, though. I understand
that Giuseppe Sabbatini has sung Mozart before this recording, but even
if he avoids some "Italian tenor" mannerisms, the fact is
that he is dying to sing Donizetti most of the time. He has the technique
and the voice to deal with what Mozart asked of him, but I dont
know if the results are entirely stylish. In the small part of Marzio,
Juan Diego Florez sings edgily in a most distressing way. The edition
is complete.
Those who find Rousset's too agitated and Harnoncourt's too fussy might
enjoy Roger Norrington's sensible tempi. I miss Rousset's more boldly
delineated emotional atmosphere and variety, especially in the lyric
moments, when the English conductor is a bit insensitive - but am not
insensitive to the unobtrusiveness of the Salzburg live performance,
recorded in natural hall acoustics. One must mention that minor cuts
have been made both in recitatives and numbers (and also inside numbers).
In the role of Aspasia, Cyndia Sieden's glittery soprano copes well
with the coloratura demands made on her, but her top register is a bit
edgy. In spite of the lightness of her voice, she is well contrasted
to her Ismene, the rounder-toned Heidi Grant Murphy, in the best performance
of her life, dispatching her divisions with aplomb and charm. Although
Christiane Oelze here takes the high castrato role, she is the most
feminine and vulnerable soprano in the cast and, if she doesn't sound
more lovely in her aria d'affetto, I would blame Norrington's disciplinarian
tempo. Both she and Sieden give an outstandingly precise account of
their duetto to deserved ovation. The casting of Vesselina Kasarova
as Farnace grants the role a more positive profile than usual, given
the Bulgarian soprano prima donna quality, taking every opportunity
to add zest to a role that sits in an uncongenial area of the female
voice. As much as in Covent Garden, Bruce Ford sings generously and
expressively in the title role, although the large intervals were more
smoothly taken back in London. Finally, Toby Spence is a pleasant Marzio.
If
one prefers to here Mitridate in a modern recording with traditional
instruments, then one cannot go wrong with Adam Fischer's stylish performance,
one of the best in his series with the wonderful Danish Radio Sinfonietta.
In any case, this is probably the safest choice in the discography -
the proceedings may lack the flamboyance of Rousset's recording, but
are definitely more animated than Harnoncourt's and more flexible than
Norrington's. The editorial choices, involving the inclusion of trumpets
and drum to the overture and a lacklustre part for French horn in the
cadenza to Lungi da te, may make some eyebrows raise, but they
tend not to call attention to themselves. Henriette Bonde-Hansen is
a very good Aspasia, the creaminess of her soprano unchallenged by the
formidable demands made on her. Lisa Larsson's less glamourous tone
fits her spunkier approach to Ismene - and she dispatches her divisions
to the manner born. The contralto tessitura seems to have a positive
effect on Katarina Hammarström: she is far more dramatically connected
here than she was in Fischer's Lucio Silla and Idomeneo, not to mention
her registers are expertly knit to each other. Matthias Zachariassen
has all the basic elements of a Mitridate. Only some awkwardness in
the the role's fearsome intervals stand between him and success. It
is a pity that Maria Fontosh is not at ease in the key role of Sifare
- the edge in her voice could add to help create the aural image of
a soprano castrato, but it ends on making violence to Mozartian poise
and prevent her from producing 100% clean fioriture.
Jed
Wentz's recording is freshly and animatedly conducted and his orchestra
plays with real gusto. This could be a commendable performance if there
was not serious pieces of miscasting going on here. To start with, Francine
van der Heyden has the wrong voice for Aspasia - it is not particularly
lovely and her fioriture is not flashing as it should. This is after
all a prima donna role and needs more charisma. Marijje van Stralen's
oratorio soprano-like Sifare is even more puzzling - she sounds rather
like an Aspasia on valium! On the other hand, Marcel Reijans is a light
efficient Mitridate and Johannette Zommer's Ismene is lovely. The only
outstanding performance here is, however, Cécile van de Sant,
whose voice is impressively suited to the role of Farnace and the absence
of register break in such tessitura is truly commendable.
Considering
the freakish stagings offered in the Salzburg Mozart 250th Anniversary
Festival, Günter Krämer's production of Mitridate could be
worse. As it is, he seems at least to have read the libretto and, if
he entirely misunderstood it, this is probably a mistake in eligendo.
Whenever a director opts for the principle of applying psychology
to opera seria, the misfiring is always colossal. So it is here. It
is particularly perverse that the edition here adopted was not made
entirely in order to fit the duration to modern audience's patience;
it also involved adapting the plot to the director's imagination. It
is true that Ismene is the less passive character in the plot, but shifting
her to the pivotal role in the story and keeping her on stage from second
one to the final curtain cannot help being abusive. However, the most
detestable feature of this production is making all these characters
behave like children (because this would be the only "psychologically
acceptable" explanation for their behaviour). That said, unlike
almost all other productions from the Mozart 22 series, this one does
not offend the eyes and often has visually catchy ideas, such as the
elegant use of the colours red and black and the inclined mirror above
the stage (no novelty, truth be said). It is particularly sad that Marc
Minkowski is the co-author of the so-called Salzburg edition, involving
the deletion of many numbers and recitatives and even the alteration
of the structure of acts themselves: it is difficult to understand why
a conductor who understands this music so completely would allow these
aberrant editiorial choices... All in all, Minkowski and his Musiciens
du Louvre still offer the most exciting and theatrical account of this
music. Although his tempi are more or less similar to Rousset's (curiously
the latter offers Ismene far faster tempi), Minkowski finds more variety
in his phrasing and his mastery in accent, rhythms and orchestral effects
produce a far more theatrical atmosphere. He also allows his singers
more operational space in the arie d'affetto. Netta Or's soprano
has a grainy, nasal quality not entirely pleasant to the ears, but that
is all to fault in her performance as Aspasia. Other than this, her
voice is rich over a wide range, she has very clean coloratura and she
sings with involvement and sense of style. She is curiously partnered
by the silvery Swedish soprano Miah Persson in the primo uomo role.
Hers is on paper the voice of an Ismene, but she compensates that by
impressive technical fluency (including perfect trills) and richness
of characterisation. Although her voice has not an ounce of androginy,
the incisiveness of her phrasing and her animation end on producing
a certain boyishness. In any case, she was clearly the audience's favourite
- and if you sample her Lungi da te, you will understand why.
Having to play the main schemer in a Channel tailleur clinging to her
unfaithful man agilely as a leopard (to quote Tosca), Ingela Bohlin
still finds the peace of mind to sing Ismene's aria in her straight-toned
yet strain-free soprano. Bejun Mehta's dark countertenor works beautifully
for Farnace - he sings with energy and imagination, but some of his
decoration sounds a bit ungainly. Last but not least, Richard Croft
is an interesting Mitridate. His voice is a bit light for the role,
but he sings with unfailing technique and stylishness. He also finds
a certain vulnerability in his role that makes his final soul-searching
more believable.
top
~Le
Nozze di Figaro
top
~Il
Rè Pastore
1
- Lucia Popp (Elisa), Arlene Saunders (Tamiiri), Reri Grist (Aminta), Luigi Alva
(Alessandro), Nicola Monti (Agenore), Naples Mozart Orchestra, Dennis Vaughn
2
- Sylvia McNair (Elisa), Iris Vermillion (TTamiri), Angela Maria Blasi (Aminta),
Jerry Hadley (Alessandro), Claes Ähnsjö (Agenore), Academy of Saint
Martin in the Fields, Neville Marriner
3
- Eva Mei (Elisa), Inga Nielsen (Tamiri), AAnn Murray (Aminta), Roberto Saccà
(Alessandro), Markus Schäffer (Agenore), Vienna Concentus Musicus, Nikolaus
Harnoncourt
Although
this is one of the most charming Mozart earlier works, the discography
still needs a reference recording. Denis Vaughn's is strictly for Lucia
Popp (singing Elisa) fans, to start with. Neville Marriner's lacks animation.
Worse: it is rather stiff - as is the video, which represents a performance
in a XVIIIth century private hall (as a matter of fact, the video is
quite tacky). Sylvia McNair is a charming Elisa and Angela Maria Blasi
is also very convincing as Aminta, but Iris Vermillion is not comfortable
with what she has to sing and I am afraid Jerry Hadley is entirely out
of his element here. Nikolaus
Harnoncourt's recording is splendidly conducted and has a beautiful
pair of lovers in Eva Meis bright flexible soprano and Ann Murrays
darker richer voice. Inga Nielsen is a bit heavy as Tamiri and Roberto
Saccà, in spite of a not really plasant, is quite reliable.
top
~Der
Schauspieldirektor
1
- Edita Gruberová, Kiri Te Kanawa, UUwe Heilmann, Manfred Jungwirth, Wiener
Philharmoniker, John Pritchard
2
- Magda Kalmar, Krisztina Laki, Thomas Hamppson, Harry van der Kamp, Concertgebouw,
Nikolaus Harnoncourt.
Der
Schauspieldirektor is Mozarts charming little Singspiel making
fun of operatic artists (and the impresario, of course). Non of the
versions here include the dialogues. John Pritchard's is quite tempting,
since it has real divas in the roles of Mme. Herz and Mme. Silberklang.
I am afraid, though, that neither of them were very inspired, especially
Kiri Te Kanawa, whose lyric soprano is probably not what Mozart had
in mind for this kind of florid writing. The conducting is light and
animated - the remaining items in the disc are concert arias, beautifully
sung by both sopranos.
Nikolaus
Harnoncourt's recording is a bit fussy and exaggerated and, although
Kalmar and Laki actually sing well, they lack diva quality... And it
is curious to find Hampson singing in the tenor role.
top
~Die
Zauberflöte
1 - Dorothea Röschmann (Pamina), Erika Miklósa (Queen of
the Night), Christoph Strehl (Tamino), Hanno Müller-Brachmann (Papageno),
René Pape (Sarastro), Arnold Schoenberg Chor, Mahler Chamber
Orchestra, Claudio Abbado
2 - Hilde Güden (Pamina), Wilma Lipp (Queen of the Night), Léopold
Simoneau (Tamino), Walter Berry (Papageno), Kurt Böhme (Sarastro),
Wiener Staatsopernchor, Wiener Philharmoniker, Karl Böhm
3 - Evelyn Lear (Pamina), Roberta Peters (Queen of the Night), Fritz
Wunderlich (Tamino), Dietrich Fischer-Dieskau (Papageno), Franz Crass
(Sarastro), RIAS-Kammerchor, Berliner Philharmoniker, Karl Böhm
4
- Rosa Mannion (Pamina), Natalie Dessay (Queen of the Night), Hans-Peter
Blochwitz (Tamino), Anton Scharinger (Papageno), Reinhard Hagen (Sarastro),
Les Arts Florissants, William Christie
5- Margaret Price (Pamina), Luciana Serra (Queen of the Night), Peter
Schreier (Tamino), Mikael Melbye (Papageno), Kurt Moll (Sarastro), Leipzig
Rundfunkchor, Staatskapelle Dresden, Colin Davis
6
- Dorothea Röschmann (Pamina), Diana Damrau (Queen of the Night),
Will Hartmann (Tamino), Simon Keenlyside (Papageno), Franz-Josef Selig
(Sarastro), Chorus and Orchestra of the Royal Opera House, Covent Garden,
Colin Davis
7
- Dorothea Röschmann (Pamina), Désirée Rancatore
(Queen of the Night), Piotr Beczala (Tamino), Detlef Roth (Papageno),
Matti Salminen (Sarastro), Orchestre et Choeurs de l'Opéra national
de Paris, Iván Fischer
8
- Christiane Oelze (Pamina), Cyndia Sieden (Queen of the Night), Michael
Schade (Tamino), Gerald Finlay (Papageno), Harry Peeters (Sarastro),
The Monteverdi Choir, English Baroque Soloists, John Elliot Gardiner
9
- Lucia Popp (Pamina), Edita Gruberová (Queen of the Night),
Siegfried Jerusalem (Tamino), Wolfgang Brendel (Papageno), Roland Bracht
(Sarastro), Bayerischer Rundfunk Symphonie Orchester und Chor, Bernard
Haitink
10
- Barbara Bonney (Pamina), Edita Gruberová (Queen of the Night),
Hans-Peter Blochwitz (Tamino), Anton Scharinger (Papageno), Matti Salminen
(Sarastro), Opernhaus
Zürichs Chor und Orchester, Nikolaus
Harnoncourt
11
- Julia Kleiter (Pamina), Elena Mosuc (Queen of the Night), Cristoph
Strehl (Tamino), Ruben Drole (Papageno), Matti Salminen (Sarastro),
Chor und Orchester der Oper Zürich, Nikolaus Harnoncourt
12
- Edith Mathis (Pamina), Karin Ott (Queen of the Night), Francisco Araiza
(Tamino), Gottfried Hornik (Papageno), José van Dam (Sarastro),
Chor der Deutschen Oper, Berliner Philharmoniker, Herbert von Karajan
13
- Gundula Janowitz (Pamina), Lucia Popp (Queen of the Night), Nicolai
Gedda (Tamino), Walter Berry (Papageno), Gottlob Frick (Sarastro), Philharmonia
Chorus and Orchestra, Otto Klemperer
14
- Ileana Cotrubas (Pamina), Edita Gruberová (Queen of the Night),
Peter Schreier (Tamino), Christian Boesch (Papageno), Martti Talvela
(Sarastro), Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker,
James Levine
15
- Kathleen Battle (Pamina), Luciana Serra (Queen of the Night), Francisco
Araiza (Tamino), Manfred Hemm (Papageno), Kurt Moll (Sarastro), Metropolitan
Opera Orchestra and Chorus, James Levine
16
- Barbara Hendricks (Pamina), June Anderson (Queen of the Night), Jerry
Hadley (Tamino), Thomas Allen (Papageno), Robert Lloyd (Sarastro), Scottish
Chamber Orchestra and Chorus, Charles MacKerras
17
- Kiri Te Kanawa (Pamina), Cheryl Studer (Queen of the Night), Francisco
Araiza (Tamino), Olaf Bär (Papageno), Samuel Ramey (Sarastro),
Ambrosian Opera Chorus, Academy of Saint Martin in the Fields, Neville
Marriner
18
- Genia Kühmeier (Pamina), Diana Damrau (Queen of the Night), Paul
Groves (Tamino), Christian Gerhaher (Papageno), René Pape (Sarastro),
Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker, Riccardo
Muti
19
- Dawn Upshaw (Pamina), Beverly Hoch (Queen of the Night), Anthony Rolfe-Johnson
(Tamino), Andreas Schmidt (Papageno), Cornelius Hauptmann (Sarastro),
Schütz Choir of London, London Classical Players, Roger Norrington
20
- Anna Christina Biel (Pamina), Birgit Louise Frandsen (Queen of the
Night), Stefan Dahlberg (Tamino), Mikael Samuelsson (Papageno), Lászlo
Polgár (Sarastro), Drottningholm Court Theatre Chorus and Orchestra,
Arnold Östman
21
- Barbara Bonney (Pamina), Sumi Jo (Queen of the Night), Kurt Streit
(Tamino), Gilles Cachemaille (Papageno), Kristinn Sigmundsson (Sarastro),
Drottningholm Court Theatre Chorus and Orchestra, Arnold Östman
22
- Anneliese Rothenberger (Pamina), Edda Moser (Queen of the Night),
Peter Schreier (Tamino), Walter Berry (Papageno), Kurt Moll (Sarastro),
Bayerischen Staatsopernorchester und chor, Wolfgang Sawallisch
23
- Lucia Popp (Pamina), Edita Gruberová (Queen of the Night),
Francisco Araiza (Tamino), Wolfgang Brendel (Papageno), Kurt Moll (Sarastro),
Bayerischen Staatsoperorchester und chor, Wolfgang Sawallisch
24
- Pilar Lorengar (Pamina), Cristina Deutekom (Queen of the Night), Stuart
Burrows (Tamino), Hermann Prey (Papageno), Martti Talvela (Sarastro),
Wiener Staatsopernchor, Wiener Philharmoniker, Georg Solti
25
- Ruth Ziesak (Pamina), Sumi Jo (Queen of the Night), Uwe Heilmann (Tamino),
Michael Kraus (Papageno), Kurt Moll (Sarastro), Wiener Staatsopernchor,
Wiener Philharmoniker, Georg Solti
26
- Lisa della Casa (Pamina), Erika Köth (Queen of the Night), Léopold
Simoneau (Tamino), Walter Berry (Papageno), Kurt Böhme (Sarastro),
Wiener Philharmoniker, George Szell
27
- Malin Hartelius (Pamina), Elena Mosuc (Queen of the Night), Piotr
Beczala (Tamino), Anton Scharinger (Papageno), Matti Salminen (Sarastro),
Opernhaus
Zürichs Chor und Orchester,
Franz Welser-Möst
Die
Zauberflöte is a Singspiel made for the popular theatre. It also
is a vehicle for Massonic ideals, with quite a proto-Jungian plot. But
it is my opinion that it is _essentially_ something closer to pantomime
than to a PhD. That is why lighter performances are going to be consistently
preferred in this discography.
Although
Karl Böhm was a distinguished Mozartian in his days, I could never
warm to his approach to Die Zauberflöte. I think that the first
recording is too Viennese and the second too Berliner, in the sense
that the Decca/Wiener Philharmoniker has a cosy operetta-like atmosphere
and the DG/Berliner Philharmoniker sounds like Meistersinger act II.
He cannot be accused of heavy orchestral sounds in neither, but his
tempi are too considerate for comfort. In the first recording, the more
pointed playing, especially in the strings, sounds more stylish than
the plummier sound in the second recording. However, voices are too
closely recorded in Vienna and no dialogues are offered. On the other
hand, the dialogues in the Berlin recording could not be better - the
timing is perfect. Both sopranos in Vienna seem to be singing Die Fledermaus.
Although their voices are clear and agile, they sound tacky for modern
listeners - especially the soubrettish Wilma Lipp. In Berlin, Böhm
had more stylish sopranos, who were unfortunately in poor voice. Evelyn
Lear, for example, sings Pamina with intelligence and good taste, but
the tone is not very glamourous and she seems to be concentrated on
producing the notes. It is a pity that Roberta Peters was in such a
raw voice and that her intonation has its dubious moments, for she cleverly
lets us see that the Queen of the Night is not exactly a good girl in
the first aria. When it comes to the Berlin Tamino, there is a performance
of legendary status - Fritz Wunderlich in characteristic ardent mood
and gleaming voice. Of course, this is singing of the highest level
but sometimes one feels he is dying to sing the Preislied. In the older
set, Léopold Simoneau never reaches such high levels - he is
out of style and has poor German. On the other hand, I prefer Walter
Berrys rich-toned and spontaneous Papageno in Vienna to Dietrich
Fischer-Dieskaus slimmer and more sophisticated singing in the
later recording. Both basses in Berlin - Hans Hotter as the Sprecher
and Franz Crass as Sarastro - are preferable to the poorly focused Paul
Schöffler and the rough Kurt Böhme. This is probably Crasss
best operatic performance. Although he is not a deep bass, his velvety
and flexible tones together with his beautiful phrasing makes him a
patrician Sarastro. In both recordings, the secondary roles are not
ideally cast (with the exception of the Papagenas). The Vienna ladies
(with the exception of an immeditaly recognizable Christa Ludwig) are
kitsch, but the Berlin ones are not great improvement. Different from
most listeners, I think that DGs decision to invite James King
and Martti Talvela for the Armoured Men makes for the heaviest version
of that scene ever available.
Live from Salzburg, there is also Georg Szells recording with
the Vienna Philharmonic from 1959, which shares with Böhm some
singers. First of all, it is so refreshing to see how conscious a Mozartian
Szell was back then. His tempi are zipping, his phrasing is alert and
he makes everything he can in order to prevent it to sound cute. However,
his forces do not respond consistently - it seems that the musicians
under his baton were not prepared to deal with this approach, since
there are mismatches between orchestra and soloists and inside the orchestra
itself in annoying levels. According to what I understood, this was
a prise de rôle for Lisa della Casa - and this is surprising,
since it is her best recorded performance of a Mozart opera. Her Pamina
is delightful - girlish, sensitive, stylish and animated. Erika Köth
is light beyond salvation as the Queen of the Night, but it is amazing
how easily she copes with one of the fastest accounts (if not the fastest)
of Der Hölle Rache. Léopold Simoneau offers a performance
similar to the one he recorded for Böhm - although his Dies
Bildnis is really affected - he tends to be more at ease here.
Walter Berry is again a fresh and most natural Papageno and he does
wonders in dialogue. Kurt Böhmes Sarastro is short of disastrous,
though. Hans Hotter is in yawny voice as the Sprecher, but the ladies,
the boys (Wiener Sängerknaben) and the Papagena (Graziella Sciutti)
are good. The recorded sound is natural and well balanced.
When
the issue is Otto Klemperers recording, even if one could complain
that the orchestra may sound heavy, I would counterargue: when there
is such level of clarity (wonderful woodwind throughout) and forward
movement (even when the tempi could be faster), it is really worth while
listening. The dialogues would have helped to bring more lightness and
their absence is regrettable. Also, more flexible and slimmer strings
would have been providencial. The cast is a starry affair and it works
wonderfully. Gundula Janowitzs 100% Mozartian soprano is a delight
for the ears, even if, in this first recording of hers, she was a bit
shy about interpretation. Another débutante is Lucia Popp, whose
incisive singing, rhythmic accuracy, musicianship and intelligence place
her right in the top of the list of the good Queens of the Night. Nicolai
Gedda was not in his freshest voice when he recorded it, but is consistently
expressive and avoids trap no.1 for Tamino: making it sound like a heroic
tenor role. Walter Berrys Papageno is not as spontaneous as in
Böhms recording, but is still congenial and creative. The
three ladies in this recording are no more no less than Elisabeth Schwarzkopf,
Christa Ludwig and Marga Höffgen - and they make a spirited and
harmonious team. Lisa Otto is also an excellent Papagena. It is a pity
Gottlob Frick was invited for Sarastro - his bass lacks the low notes
and the nobility for the role. Also, he was clearly in very poor voice.
As in both Böhm sets, the three boys are sang by women sopranos
- for unstylish results. The recorded sound could have a bit more focus,
although voices are naturally recorded. In a nutshell, a bit on the
Beethovenian side, but certainly worth while listening.
It
seems that in his 1969 recording, Solti had Meistersinger in mind while
he was conducting this Zauberflöte - the cast had also been chosen
accordingly. Although the orchestral sound is all right light and the
tempi are not necessarily slow (and there is the required clarity),
the performance drags. The comedy scenes are particularly ineffective,
since there is a superficial cuteness going on without the necessary
zest and intelligence to make it work. It should be pointed out, however,
that some of the serious episodes benefit from the splendid sounds of
the Vienna Philharmonic and full-toned choral singing. Pilar Lorengar's
fruity tone will always remain an acquired taste in Mozart. Her artistry
is beyond reproach nonetheless: her phrasing is stylish, her vivid response
to the text is refreshing and she always has a trick or two in her sleeves
for the key moments. Christina Deutekom's impressively full-toned a
tempo Queen of the Night certainly deserves all the praises she has
received, but her yodelling coloratura is quite exotic. Stuart Burrows
is a sensitive rich-voiced Tamino. Unfortunately, his ardour is not
always in line with Mozartian style. The most serious victim of Solti's
miscalculations, Hermann Prey is a dull Papageno, even in spite of his
gorgeous voice and stylishness. The result is too noble and homogeneous.
As a compensation, Martti Talvela was in good behaviour and offers his
best performance in a Mozart opera. Nobler Sarastros are certainly going
to be found elsewhere, but this is an inspired performance, thoroughly
sung. The three ladies lack sparkle, but Gerhard Stolze is a marvellous
Monostatos. Dietrich Fischer-Dieskau also offers a highly intelligent
performance as the Sprecher. Finally, the recorded sound could be less
favourable to singers.
Wolfgang Sawallischs 1972 recording could be called a safe choice.
The tempi are neither fast nor slow, but there is nothing heavy about
this performance. Woodwind are nicely prominent, but the strings
articulation could be clearer and less plummy. There is a good cast
too. Although Anneliese Rothenberger has very good ideas throughout,
her soprano is not clean enough and the results are not always Mozartian.
However, if you believe the Queen of the Night should sound like lightings
and thunderbolts, here you find Edda Moser as the most forceful soprano
recorded in this role. She hits her high fs as if she were singing
the Immolation Scene, while keeping good control of her coloratura.
Youll find those who consider her to be the best exponent of this
role. Unfortunately, there is little contrast between her first and
second aria and her triplets in Der Hölle Rache are heavily
handled, but few sopranos sing the high staccato passages a tempo as
she does in this aria. Peter Schreier offers again his fresh-sounding
Tamino, while Walter Berry records his last Papageno, an irresistible
impersonation. Kurt Moll is a newcomer to studios as Sarastro. It is
already a most satisfying and mature performance. The Tölzer Boys
and the Monostatos (Willi Brokmeier) are excellent, but Olivera Miljakovic
sounds kitsch as Papagena and Leonore Kirchstein ruins an otherwise
strong team of three ladies.
Herbert von Karajans second recording is basically the opposite
approach to the first one - there the cast was Viennese and the conducting
was fast and animated; here the cast is international and the conducting
is Viennese. Although the tempi are not necessarily very slow (only
in the "serious" moments), the articulation is quite soft
and plummy throughout. It is basically a grandiose performance, where
spontaneity is not always there, although it is bound to please those
who like big orchestral playing. The overture is very sophisticated
and puzzling, with dynamics used in a original but artifficial way.
Woodwind are clear enough, and some endearing details appear now and
then such, as the staccato playing of the double bass in Drei Knäbchen.
The recorded sound is a bit eccentric, with big acoustics to the orchestra
and a drier one for the singers, recorded in varied levels. I thought
that Araiza seemed to be in a more constricted and dimmer perspective
than the ladies in the first scene, for example. Edith Mathis is a nervous-toned
Pamina who lacks poise and legato in the highest notes, but has notion
of Mozartian style. She could be a bit more smiling here and there too.
Karin Ott was controversial casting as the Queen of the Night. I think
she is the precise example of what Karajan expected of a singer in this
role - to be a "machine gun". Although she has the weird habit
of singing her coloratura in groups of two notes, she is aptly powerful
and hits her high staccato notes with impressive energy - she also fines
down her steely tone to some soft notes in the first section of her
first aria. Francisco Araizas Tamino has the advantage of refined
use of dynamics and flexibility and his tone is full and pleasant. He
would be a reference Tamino if allowed to sing more intimately - but
I understand this is out of the scope of this recording. Gottfried Hornik
is a spontaneous Papageno with a good sense of comedy. Even if he had
his arias transposed up, José van Dam lacks weight as Sarastro.
It still sounds low for his voice and, even if the idea was to make
Sarastro nobler, he ends on sounding indifferent. The casting of the
ladies involves some weighty vocalism - Anna Tomowa-Sintowas non-mozartian
soprano sounds particularly bothersome despite all her refinement. Heinz
Kruses firm voiced characterful Monostatos deserves special mention.
Recorded
live at the Felsenreitschule, James Levine's Salzburg video features
an imaginative production by Jean-Pierre Ponelle, which however looks
its age. Some of the soloists are too mature for their roles as well,
especially Pamina and Tamino. Both Ileana Cotrubas and Peter Schreier
had by then established reputations as Mozartians, but their singing
had lost its smoothness and poise. She often sounds fluttery and he
displays too metallic a tone for comfort. As the Queen of the Night,
Edita Gruberová offers an immaculate if not entirely hair-raising
performance. However, the Strahlen der Sonnen deserved a more Mozartian
advocate than Martti Talvela, who sounds uncomfortable with Mozart's
sinewy lines and his sense of pitch leaves more than something to be
desired. As Papageno, Christian Boesch ends on winning our hearts rather
through his animation and artistic generosity than through sheer vocal
allure. Finally, the trio of ladies (Edda Moser, Ann Murray and Ingrid
Mayr) is truly distinguished. The Vienna Philharmonic offers elegant
sonorities throughout, and Levine's unaffected but affecting conducting
is light on the ear. Unfortunately, the open air recording involves
artifficial sound image and more often than not recessed orchestral
sound, if clear enough.
One could rightly say that Bernard Haitink's recording is the right
choice if one wants a traditional approach in digital sound. Although
the basic atmosphere could make one think of Klemperer or even Colin
Davis, Haitinks basically unfussed and uninflected interpretation,
although it does not dazzle, it does not displease anyone either. It
benefits from beautiful orchestral playing from the Bavarian Radio orchestra
and a very strong team of soloists - it is also spaciously recorded,
which fits the performance. Lucia Popps Pamina is endearing, sung
in warm tone and phrasing arrestingly. Edita Gruberová is again
an efficient Queen of the Night, offering impressive coloratura. Few
people would suspect how good is Siegfried Jerusalems Tamino.
He was in particularly fresh voice and sings with disarming naturality.
Although Wolfgang Brendels voice is really beautiful, his Papagno
is a bit phlegmatic. The weakest link in the cast is, however, Roland
Brachs Fafnerian Sarastro.
Wolfgang
Sawallischs video from Munich repeats some of the cast of Haitinks
CDs, but it is a far less compelling performance as a whole. August
Everding's production is not particularly creative, although there is
nothing particularly ugly on stage. Endearingly as she sings, Lucia
Popp's soprano is a bit heavy two years after her studio recording.
Edita Gruberová is not at her best high f-form here, but she
has every other weapon a Queen of the Night should have in her command.
Francisco Araiza, Wolfgang Brendel and Kurt Moll sing beautifully, but
bureaucratically, and Sawallischs conducting is a bit lackadaisical.
Although Colin Davis's recording in Dresden is far from being the best
in his Mozart series, it has its share of interest. Even if the tempi
are not fast (except for a zipping Der Hölle Rache), there
is a prevailing lightness and an avoidance of Romanticism, which is
quite refreshing, especially for those who like it with a big orchestra.
The Staatskapelle Dresden does not let these listeners down - it offers
beautiful sounds thoughout, with clear woodwind. The conductor shapes
phrases lovingly and ends on convincing even when things could be a
bit more animated. Although Margaret Prices voice was not as light
as it used to be, her Pamina is an overwhelming performance. Not only
does she take advantage of the extra richness of tone for the more dramatic
moments, but also she scales down beautifully whenever necessary. Luciana
Serra, however, is an extra light Queen of the Night. Although she has
good ideas and impressive coloratura, she sounds rather small-scaled.
Later, at the Met, she would offer something more in keeping with her
reputation. Although he is not as fresh toned as in the Sawallisch CDs,
Peter Schreier is still an exemplary Tamino. A congested top note or
two will easily be overlooked considering the tenors good taste,
stylishness and imagination. At this stage of his career, it is impressive
that he was still able to project such boyishness in his interpretation.
Michael Melbye is an unsteady Papageno, but Kurt Moll is again a most
reliable Sarastro. Also worth of mention are Theo Adams stern
Sprecher and Marie McLaughlins charming First Lady. The Knaben
are sang by the boys of the Kreuzchor. The recorded sound is very good.
Also, the dialogue (delivered by a group of actors) is absolutely complete.
Nikolaus
Harnoncourts recording is an energetic and characterful performance.
Of course, there are the occasional weird things, such as the fussy
phrasing in Papagenos first aria and the slowest possible pace
in Bei Männer and the Pamina/Tamino/Sarastro trio. However,
the weirdest feature is the air hostess voice narrating the stories
instead of the dialogues. The Zürich Opera Orchestra is in great
shape and far livelier and clearer in articulation than the Concertgebouw
for the Da Ponte operas by the same conductor. The cast is charming
- the lovely Barbara Bonney, Edita Gruberovás accurate
articulation for great effect as the Queen of the Night, Hans-Peter
Blochwitzs handsome Tamino (really better here than in William
Christie's recording). I am not fond of Anton Scharingers heavy
Papageno nor of Matti Salminens yawny Sarastro, though. There
is also an excellent sexy-sounding trio of ladies (Pamela Coburn, Delores
Ziegler and Marjana Lipovsek), Thomas Moser as the first man in armour
and three excellent boys. Endearing as it is to find Waldemar Kmentt
as the first priest, he is effortful in his duet.
[JORDAN]
Neville
Marriners
performance has a light, easy going quality that is truly pleasant.
The cast could be as fresh as the conducting, though. Kiri Te Kanawa
is rather mature for Pamina and Francisco Araiza was past his Tamino
days. Cheryl Studer, however, is an exciting Queen of the Night, albeit
one who operates in slower tempi. Olaf Bär is an excellent Papageno
and Samuel Ramey compensates his awkward German with firm voiced singing.
The recorded sound is excellent.
The
video from the Metropolitan Opera House features David Hockney's production,
which looks a bit modest for the venue. Moreover, it has not aged very
well and may seem amateurish now and then. James Levine is a seasoned
Mozartian who never lets the performance sag and knows how to produce
the right dramatic effect. Unfortunately, both orchestra and chorus
are not entirely up to the task and those used to his Salzburg recording
might miss the glamourous forces available there. Secondary roles are
not really enticing either, with the notable exception of Heinz Zednik
as Monostatos. Kathleen Battle's silvery soprano glitters beautifully
through a Mozartian phrase, even if this role ideally requires a lyric
soprano, and she is the sexiest Pamina ever recorder. Although her acting
is a bit overdone, her gracious figure makes one less severe about her
stage presence. Luciana Serra's Queen of the Night went impressively
into focus. Her firm metallic voice, incisive delivery and instrumental
coloratura are really exciting. Francisco Araiza, however, was not in
his freshest voice, but is more varied and concerned than in the video
from Munich. Kurt Moll too offers a more interesting performance here
and is in particularly strong voice. Manfred Hemm's Papageno is heavy
and far from uningratiating. His eupeptic presence may seem refreshing,
but it becomes a bit bothersome after some time.
Georg
Soltis
second recording of the Magic Flute is a great improvement on the 1969
set. His conducting developed towards a stylish, elegant and inteligent
approach. The Vienna Philharmonic is entirely at home, offering fresh,
fluent and strong playing. Moreover, the recorded sound has good balance
between soloists and the orchestra, allowing for true dialogue between
them, especially when woodwind is concerned. Ruth Ziesak is one of the
lightest-voiced Paminas on recordings. Her pure tone and unmannered
but intelligent performance make hers a youthful affecting performance.
Although Sumi Jo is also light-voiced for the Queen of the Night, she
handles the brightness of her voice to produce a strong effect. Her
rhythmic accuracy, musicianship and impressive virtuoso quality include
her in the list of the really impressive exponents of her role. Uwe
Heilmann is also youthful and pleasant sounding, although he has his
fluttery moments. Michael Kraus is rather rough-voiced as Papageno,
but has the necessary earthiness. Kurt Moll is an experienced Sarastro,
even if the voice is here a bit on the dry side. Finally, Andreas Schmidt
is an effective Sprecher.
Roger Norringtons
recording is generally boycotted by reviewers, but it actually is a
performance of some musical interest. The whole premise to the recording
was making it the lightest possible, in according to a "pantomime"
tradition. However, this is made without resorting to thin orchestral
playing. On the contrary, the London Classical Players have a rich sound
in which woodwind blend beautifully. Dance rhythms are found in every
number of the score and intelligent musical-dramatic effects abound.
His adoption for flowing andante could not be better advised and - as
a result of it and of the extra clarity (ensured by natural warm recording)
- some moments are uniquely satisfying such as Drei Knäbchen
hold, schön, jung or the trio of the boys Seid uns zum
zweiten Mal willkommen, with wonderful violin effects. When an
orchestra "sings" so beautifully, the cast naturally takes
second place - especially for none of the singers is particularly memorable.
Both sopranos have slightly accented German and light voices. Musicianly
as she is, Dawn Upshaw sounds a bit like a promoted Papagena and her
voice spreads on the vowel "ee". Although her handling of
rhythm in Ach, ich fühls is admirable, her singing
lacks pathos there. Beverly Hoch is probably the lightest-voiced Queen
of the Night in the discography and the tone is not particularly beautiful
- the voice sounds a bit elderly, but she turns it into advantage presenting
a really nasty character from the start. Her coloratura is competent
and she even shows off on vocalizing on the vowel of the text (instead
of singing everything on "ah"). Anthony Rolfe-Johnson is a
most pleasant and boyish Tamino and Andreas Schmidt is wonderfully down-to-earth
as Papageno. Unfortunately, Cornelius Hauptmanns ill-placed voice
is not up to Sarastro. Nancy Argenta deserves mention for her lovely
1st Dame and the three boys are marvellously sung by three sopranos
who sound perfectly child-like.
Charles
Mackerrass Magic Flute is the gretest success in his seris of
Mozart operas. It is a delightful performance entirely in keeping with
the light atmosphere of the piece and his cast has some very good performances.
Although Barbara Hendricks has nice ideas about Pamina, her voice lacks
purity. June Andersons voice could be cleaner too, but she is
in impressive dramatic mood and seems to be in a fury in her dialogue
before Der Hölle Rache. Jerry Hadley is a pleasant fresh-sounding
Tamino. Thomas Allen is similarly an unaffected and congenial Papageno.
It is a pity that Robert Lloyd was already too rusty of voice when he
recorded his Sarastro. The Scottish Chamber Orchestra plays beautifully
and his real andante (i.e., not slow) tempo for Ach, ich fühls
is everything I have always wanted to hear.
Arnold
Östman catches wonderfully the spirit of this work, but his CDs
have even thinner orchestral sound that the rest of the series, making
a full recommendation impossible. He has a stylish and sensitive romantic
couple here - Barbara Bonney is an exquisite Pamina and Kurt Streit
is a admirable Tamino. Sumi Jo offers a more relaxed performance here
than for Solti, which only makes us to notice that her voice remains
too light for the Queen of the Night, and Kristinn Sigmundsson is a
bit dry-toned as Sarastro. Gilles Cachemaille is a pleasing spontaneous
Papageno. I am afraid that, for the first time, I prefer the Drottningholm
video to the CDs, probably because the recorded soundthere is richer.
Anna Christina Biel is a light girlish Pamina and Stefan Dahlberg is
a baritonal flexible Tamino. The Papageno is overfunny and the Queen
of the Night is overparted. Lászlo Polgár offers the most
interesting performance in the cast - his elegant Sarastro is probably
the best example of her singing. It has the nobility and spiritual concentration
lacking in many famous portraits. The staging, which tries to reproduce
a performance in the XVIIIth century style, is unpretentious and charming
exactly because of that.
John-Eliot
Gardiners performance lacks conviction, although his tempi are
very correct and the phrasing is aptly articulate. Again, his chorus
is excellent, but the cast has only two notable performances: Christiane
Oelzes sensitive and delicate Pamina and Gerald Finlays
funny and charming Papageno. The pretty-toned Cyndia Sieden, one of
the lightest Queen of the Nights in recordings, is tested by the fast
tempi. Michael Schade is a drier and less expressive version of Peter
Schreier and Harry Peeters is indifferent as Sarastro. The video is
difficult to recommend. It is a semi-staged performance at the Concertgebouw.
That means that there is very little space to act in since the orchestra
occupies most of the stage. The ideas are creative, but makes very little
sense in video.
The
Magic Flute was William Christies first Mozartian venture and
his knowledge of baroque conventions was quite useful in the sense of
creating transparent textures, but there is a prevailing softness and
struggle for elegance that end on making everything sound quite the
same. There is something fussy about tempi and phrasing too - many numbers
sound slower than usually done today, such as Papagenos Der
Vogelfänger bin ich ja, which seems pointless in this pace.
I dislike the way Christie interpretates some passage as being recitatives,
with a kind of ad libitum approach, which ruins the rhythmic fluency
of many moments. The cadenza for the three ladies in the opening number
is a also a turn off and Mozart was wise on cutting it. The most pleasing
soloist is Rosa Mannion, displaying a warm creamy voice and imagination.
Natalie Dessay is light voiced as the Queen of the Night and there is
a velvety quality in her tone that prevents her from sounding evil at
all. Hans-Peter Blochwitz and Anton Scharinger are quite consistent
with what they did for Harnoncourt, although the former is in slightly
less bright voice and the later displays a somewhat richer tone. Last
but not least, Reinhard Hagen is a reliable dark-toned Sarastro.
The
DVD from the Opéra de Paris features Benno Besson's everything-at-the-same-time
production involving XVIIIthe century-like painted cardboard sceneries
and machinery together with pseudo-Asian costumes mixed with suit-and-tie
outfits and some incredibly anti-climax for climactic scenes such as
the Queen of the Night's second aria and the final scene. Iván
Fischer's elegant conducting generates transparent, clearly articulated
sounds from the house orchestra and, even if tempi could be a bit more
animated, the sense of of forward movement is never lost. The young
Dorothea Röschmann is a cleanly sung Pamina - she would still develop
her interpretation, but the fresher and brighter top register is a reward
in itself. Desirée Rancatore is the second Italian Queen of the
Night in the discography. She has the right temper for the role, clear
coloratura and rhythmical accuracy (even in the fast tempo chosen by
the conductor for her second aria), but her high register can be shrill
and edgy. Her German deserves some practice and she does look here too
young for the role. The also young Piotr Beczala seems more concerned
with Mozartian style than he would later be, but he is even less at
ease therefore - his intonation is uncertain in Dies Bildnis,
his phrasing is a bit clipped and mechanical and his delivery is rather
indifferent too. Detlef Roth is a stylish and clear-toned Papageno.
His stage performance involves some unfunny comedy gestures and lots
of grimacing while singing. Sometimes I had to close my eyes to enjoy
his lovely singing. Matti Salminen offers here probably his best Sarastro
- his phrasing is cleaner and more flowing than in his previous and
subsequent recordings. The recorded sound is natural, but the orchestra
could be a bit more richer.
Unfortunately, Colin Davis's second try reveals that vital elements
of his performance were the Staatskapelle Dresden, the Leipzig Radio
Chorus and the recorded sound by Phillips. The Covent Garden orchestra
lacks the clear articulation and the rich sound their Dresdner colleagues
excel in and the recording is too favourable for singers, what impares
clarity throughout. Also, tempi tend to drag a bit compared to the former
release - and this is particularly bothersome when one already has to
deal with a somewhat recessed orchestral sound. David McVicar's production
is overdark and now and then one thinks of limited budget, but his stage
direction is according to the reputation of the land of Shakespeare.
Also, he has an extraordinarily gifted cast - some of these singers
could do straight theatre! Dorothea Röschmann is a highly expressive
Pamina, more positive than usual and sung in creamy tone. Some may found
that her imaginatively shaded word-pointing is not entirely healthy
to legato, though. Diana Damrau leaves a flashing impression as the
Queen of the Night. Her vibrant steely sound fits the role as a glove
and her high staccato singing is amazingly accurate. She also knows
how to highlight the meaning of words and to make coloratura an expressive
tool. One thing is certain: nobody on video has mastered the stage aspects
of the role as she does. Will Hartman is a controversial Tamino: although
his voice is too heroic and uncaressing for the role, he does not sing
it as heroic role, shading his tone sensitively in the lighter moments.
Simon Keenlyside projects such artlessness and naïveté in
his bright firm tone that he ends on being irresistible. Also - he really
is a wonderful actor and has the audience on his hand. Despite some
unstable and throaty moments, Franz Josef-Selig is a noble Sarastro,
displaying a healthy low register and stylish phrasing. Among the secondary
roles, Yvonne Howard's dark contralto is worthy of mention.
Although the "Young Sherlock Holmes"-like sceneries might
suggest some excitement, Jonathan Miller offers the most austere performance
of Die Zauberflöte commited to video. All the magic elements of
the plot are replaced by... actually they are replaced by nothing. The
story is set in a library and characters more or less dressed in Victorian
fashion enter and exit for no specific purpose. Accordingly, stage direction
is reduced to minimal. Straightjacked by the proceedings, conductor
Franz Welser-Möst seems to be dying to throw some energy into the
event, trying to extract the occasional rough sonority from his orchestra,
but the prevailing gloominess makes these moments rarer and rarer. As
a matter of fact, when tempi do get buoyant, they simply do not fit.
Malin Hartelius is a lovely Pamina, floating creamy top notes without
any hint of effort throughout. She handles Ach, ich fühl's
exquisitely. Elena Mosuc knows how to infuse some nastiness in her Queen
of the Night, but all her intelligence, musicianship and good taste
do not obliterate the fact that hers is too light a voice for the role.
As a result, her high staccato singing sounds recessed and unimpressive.
Piotr Beczala's lachrymose and rather unimaginative Tamino belongs to
the world of operetta. Matti Salminen's Sarastro is a veteran's performance.
Of course, his dark powerful bass still retains some interest, but the
truth is Mozart never was his best repertoire. Although Anton Scharinger
is a quite mature Papageno, he is surprisingly the only member of the
cast who seems to be having fun. His singing is far from smooth, but
the necessary spontaneity is all there - and he knows how to have the
audience on his side.
Straight
from the Salzburg 2006 Mozartian 250th Anniversary Festival, the video
from the Grosses Festspielhaus features Riccardo Muti in his only official
recording of Die Zauberflöte. Considering this conductor's congeniality
with the composer's Italian operas, one would expect some kind of charmingly
fast and articulated Rossini-like approach only to be surprised with
this overserious and rather ponderous performance. Although the playing
from the Vienna Philharmonic is not heavy at all, there is an overall
lack of liveliness and profile that makes it all sound like background
music. Maybe the large hall acoustics has something to do with the matte
sound picture. Pierre Audi's bright, basic-coloured productions could
not be more contrasted with the musical aspects of this performance.
Unfortunately, the plethora of overcreative ideas does not always look
good, especially when they replace elements required in the libretto
by shapeless structures with little added-insight. Costumes are inexplicably
ugly and unflattering to singers, especially Pamina, made to look frumpy
(especially next to a sexy Queen of the Night), and Tamino, whose hairstyle
(and hammy acting) makes one think of a porn actor. As a compensation
for the high-priced tickets, the audience could concentrate on the excellent
cast assembled here. Taking the role of Pamina, Genia Kühmeier
proves to be the legitimate heiress of the Austrian lyric soprano tradition.
Her absolutely pure soprano floats through Mozartian lines with admirable
freedom and instrumental quality - and has unexpected reserves of warmth
when this is required. Diana Damrau is again a most exciting Queen of
the Night, singing her second aria with almost reckless vehemence, not
to mention that her acting skills are praiseworthy. As much as Dietrich
Fischer-Dieskau in the past, Christian Gerhaher's whole attitude is
too sophisticated for Papageno and he tries really seriously too be
funny. What is beyond doubt is this artist's good taste and intelligence.
René Pape sounds a bit more fluent here than he would be for
Abbado and, although his warm round dark bass is always a pleasure to
the ears, I still miss clearer articulation in the little angles of
his phrasing. A survivor from Muti's performances at La Scala 10 years
before, Paul Groves seems to know the right style of singing required
by Tamino, but his usual lack of spontaneity here verges on awkwardness
and his German seriously needs some training.
In spite of an acknowledged reputation as a Mozartian, Claudio Abbado
apparently took a long time to record Mozart's best-loved Singspiel.
The occasion happened to be live performances in Modena. Maybe the hunger
of Abbadians for this recording created the high expectations which
surrounded the release of these discs and the complacent reviews might
be a result of that too. An uninformed listener would find a correct
and stylish performance - nothing more than that. When Abbado's knowledge
of Mozartian phrasing and structure concur to optimal effects, such
as in the Queen of the Night's second aria, the results are indeed impressive,
but that does not happen as often as it should. To start with, the recorded
sound is artifficial in bothersome levels. Sometimes one reminds of
those old Karajan recordings in which pianissimo meant "silence"
and fortissimo meant "deafness". Also, the slim orchestral
sound not closely or warmly recorded does not build the sense of an
intimate musical experience. Details are all there, but playing with
buttons have more to do with that than natural hall balance. Moreover,
the fact that the more delicate orchestral perspective is not allied
to really agile tempi gives one the impression that there is something
missing to fill in the blanks - listen to Solti's 1990 recording and
you'll see that the missing element is the effect of a positive orchestral
sound. On the other hand, if you want to use your magnifying glass and
delve into the filigree of Mozart's score, just check what either Mackerras
or Marriner can do with a chamber orchestra using modern instruments.
The cast does not come to great help under these circumstances. The
velvety-toned Dorothea Röschmann's word-pointing has come dangerously
close to affectation and her voice is developing into something too
luxuriant for someone young as Pamina. Erika Miklósa's Queen
of the Night is efficient and athletic enough to deal with Abbado's
appropriately fast tempi for her arias. As for Cristoph Strehl's Tamino,
although the voice itself is proper to this role, his handling of it
is rather awkward, making for some strained and ungainly moments. Compared
to him, even the fluttery Uwe Heilmann (for Solti) sounds more varied
and pleasant. Hanno Müller-Brachmann is a dark-toned, elegant and
congenial Papageno, while René Pape is a rich-voiced noble Sarastro,
although I would have appreciated more crispy phrasing when his bass
has to move a bit faster. With the notable exception of Julia Kleiter's
sweet-sounding Papagena, the other minor roles are rather ungenerously
cast. Since these singers are almost all of them native German speakers,
dialogues are generally spontaneous and certainly fluent.
Harnoncourt
would return to Zürich to offer a second view on Mozart's magic
Singspiel, but the truth is that very little magic remains in a performance
that lacks forward-movement and abounds in irritating rallentando and
accelerando effects in the general context of ponderous tempi. To make
things worse, the orchestral playing is made to sound somewhat drab
and untidy and the chorus, undernourished and disgruntled. Rarely has
Mozart's music sounded so awkward as in this performance. This perverse
boycotting on the score has been extended to the cast, who is often
invited to Sprechstimme effects when the pace gets helplessly slow.
As an example, the thoroughly lovely Julia Kleiter was convinced to
portray Pamina in quite a shewish manner that robs Ach, ich fülh's
of any possibility of pathos. Of course, the conductor is right
to explain in the booklet that this aria is no Romantic tearjerker and
that the score's andante should be respected - but that has nothing
to do with draining it of its indisputable touchingness (just listen
to Mackerras to see how this should work). Elena Mosuc's Queen of the
Night has finally acquired the necessary dramatic flame, unfortunately
at the expense of agility. It seems that Cristoph Strehl was not in
his best voice when this video was recorded. Apparently, illness had
prevented him from singing at the première - and this might explain
the strained, stressed and uncomfortable singing one has to put up with
here. This is a singer I have seen live in this role in a far larger
house and I know his Tamino is far more presentable than this. Ruben
Drole's rich-toned Papageno is, on the other hand, a true find. Although
his voice has its rough patches, his ability to produce mellifluous
mezza-voce is admirable. He also has a most engaging stage presence
and handles his dialogues with naturalness. If I am not mistaken, Laszlo
Polgár was supposed to be this production's Sarastro and Matti
Salminen was a last-minute replacement. It is admirable that this veteran
singer still keeps his voice in such good shape, but again Mozart has
never been his best suit. I have the impression director Martin Kusej
was dying to direct a Russian mob movie, but had to content himself
with Die Zauberflöte. I really could not make any sense of his
hospital basement, plastic chairs, mineworkers, fencers, you name it.
It goes straight up to my list of the most detestable productions of
Mozart operas ever commited to video.
IN
CONCLUSION: The 1991 Solti is the safe choice- Id prefer the Mackerras,
but his tempi are not exactly traditional.
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