When great music is silenced by law, who is truly wrong? Such is the nasty issue arising repeatedly in the low-stakes classical recording industry. So ephemeral is music that passionate…
When Rossini’s Il viaggio a Reims was rediscovered more than two decades ago, its musical brilliance was immediately recognised. But its almost nonexistent plot, designed to incorporate an abundance of superstars, lent credence to Rossini’s decision to withdraw the opera once it had served its purpose — providing entertainment for the coronation of Charles X of France. Experiencing Il viaggio in the theatre, however, reveals its unconventional drama about a collection of upper-crust Europeans thwarted in their plans to attend the coronation to be an essential strength. The very triviality points up human foibles and, in the context of Rossini’s elaborate music, supplies a source of hilarity.
The San Francisco Opera’s 2004-05 season is winding down in nicely palindromic fashion. The company’s final offering, which opened (or reopened) Friday night at the War Memorial Opera House, is a revival of the handsome new production of Mozart’s “Così fan tutte” that began the season back in September, and its virtues remain essentially intact.
The CD incarnation of this performance, reviewed earlier on Opera Today, faces the formidable competition of an earlier Philips set conducted by Lamberto Gardelli, with Jose Carreras, Montserrat Caballé, and Jessye Norman in the cast. As a recording, that set remains the best recommendation for this neglected (fairly or not) Verdi score.
The liner notes dryly state that “This was a stringent programme for an opening-concert audience used to lighter fare at such events.” In the past this would surely have been true but together with “Das Regietheater,” there is now a firm tradition in European houses that the reason for their very existence is art, and preferably in its purest form. Audiences are not there to amuse themselves or even to enjoy the music but to ponder on whatever life’s questions may be at that exact moment. They are mightily helped in their endeavours by conductor Riccardo Muti who cannot be caught with a single smile on his face during more than an hour of music making. Therefore a house where five operas by Giuseppe Verdi were premièred cannot be expected to open with such banalaties as Ernani, Attila, Rigoletto, La Traviata or Simon Boccanegra. Even worse would have been a concert with some prominent singers performing well-known arias and duets from these operas. The danger of enjoyment would have been too great. A conductor who reopened La Scala one year later with that immortal masterpiece L’Europa riconosciuta can be expected to make more original choices. Muti preferred lesser known music by maestros who had some ties with the city itself, even with the opera house.
Henze’s magical opera L’Upupa oder Der Triumph der Sohnesliebe (L’Upupa or the Triumph of Filial Love) bears the subtitle, “a German comedy in eleven tableaux based on the Arabic.” The “Arabic” here refers to a traditional dream-tale from Syria, around which Henze crafted his libretto (his first such effort as a librettist). Like dreams, which condense from memory several images (of people, objects, actions) that share underlying characteristics into single composite dream figures, L’Upupa condenses many stories and characters into its over determined images. Far from pastiche, however, Henze’s condensations cohere in a compelling tale.
This performance must have been heart-warming for all diehards of traditionalism — no Spanish Civil War, no Palestinian-Israeli conflict, just plain religious warfare in France on the night of the 23rd of August 1572, the infamous ‘nuit de Saint-Bartholomée’ (St. Bartholomew’s Day Massacre). One is now almost so used to the excesses of ‘das Regie-Theater’ that one almost is shocked to see such a realistic looking production where dozens of people move on the stage in magnificent authentic costumes all the time (300 of them during the whole opera). As a consequence director Lacombe had his singers act as realistically as possible with real sword fights instead of stylised ones, no squirming on the floor etc. Apart from the visual splendour, everything was concentrated on the music and the singing.
NO FLOTILLA of swans, no dancing green men, no grand descent of the Sun King; in fact no big production numbers at all. Yet this concert performance of Purcell’s The Fairy Queen will be a hard act for the forthcoming Proms appearance to follow.
Vom Bundeskanzler bis zu Deutsch lands Feuilletonistinnen waren alle da. Denn mit Andrea Breth und Ni kolaus Harnoncourt hatten zwei Liebkinder des Kultur-Establishments erstmals gemeinsam eine Musiktheaterproduktion zu erarbeiten. Derartige Kunst-Bande zu knüpfen, ist die nobelste Aufgabe von Festspielen. Womit die “Styriarte” für ihre heurige Eröffnung ein adäquates Zeichen gesetzt hat. Auf der Strecke blieb dabei Bizets “Carmen”; oder zumindest das, was man bisher dafür gehalten hat.
EMI has re-released a 2-disc set of some of Samuel Barber’s most compelling orchestral and chambers works on the Gemini — The EMI Treasures label. An album of the same recordings was released in 2001, itself a remastering of original recordings dating from the mid-1980s through the mid-1990s. Disc 1 from both these sets contains music recorded in 1986 and 1988 with the St. Louis Symphony Orchestra conducted by Leonard Slatkin and released in 1990 as a single disc. The second disc of the set contains chamber music of Barber, recorded in 1995. Each time this music has been released it has received positive reviews. See for example, Jon Yungkans’s review on the The Flying Inkpot; the reviews on Amazon.com; or Victor Carr’s review on Classics Today.