To mark Britten's 100th birthday, Mariss Janson's conducted the composer's best-known and most moving work, War Requiem, in March 2013. In addition to the Bavarian Radio Symphony Orchestra and Chorus, the Tolz Boys' Choir can also be heard. An outstanding ensemble of soloists rounds off this remarkable recording.

MOZART The Magic Flute ? Wilhelm Furtwängler (cond); Irmgard Seefried ( Pamina ); Wilma Lipp ( Queen of the Night ); Walter Ludwig ( Tamino ); Karl Schmitt-Walter ( Papageno ); Josef Greindl ( Sarastro ); Vienna St Op Ch; Vienna PO ? ORFEO C 650 053 D, mono (3 CDs: 176:35) Live: Salzburg 7/27/1949)


This performance was first publicly issued on the Discocorp LP label, and then on CD by Arlecchino and Arkadia, the latter slightly better than the former. It was then sonically improved on by Music & Arts, and in Fanfare 19:5 I reviewed the Music & Arts release. Now, along comes an Orfeo issue that far surpasses both Music & Arts and Tahra (which is almost identical to Music & Arts). Orfeo?s is the first release that is officially sanctioned by the Salzburg Festival, and while the original master tapes have not survived, the Salzburg archives had at their disposal material superior to the off-the-air sources that have been the basis of prior releases. The sound here is far less harsh and strident, completely lacking the distortion found on all prior releases, and in fact even superior to EMI?s release of the slightly superior 1951 performance with a similar cast (EMI 65356).


From the chords that open the Overture, it is apparent that this is a weighty reading, one very far from today?s theories of how to perform Mozart. Those opening chords are arpeggiated (or, depending on your point of view, just sloppy), and have a significant mass about them. Throughout, Furtwängler?s performance is rooted in the 19th-century tradition?rich in color and texture, filled with tempo adjustments, and far weightier than we would encounter today. If you are open to this approach, it has probably never been done better. It is, as I said in my earlier review, a noble, humanistic Flute , one where the text has a strong impact on the conductor?s view of how to manage the music; it is a performance that smells of the theater. But if your idea of this music is that it must be light and fleeting, you will probably wish to avoid it.


The cast is very good, though not as good as the 1951 repeat of the production that is on EMI. There were two important cast changes between 1949 and 1951, and both are significant improvements (probably not a coincidence). The biggest difference is the 1951 Papageno, Erich Kunz, who is superb vocally and dramatically; Karl Schmitt-Walter here is limited by a dry timbre and what seems to be a lack of dramatic and comedic imagination. The other change is Tamino. Walter Ludwig here is sensitively phrased and dramatically inflected, but his tone is throaty; in 1951, Anton Dermota was a clear improvement.


Aside from that, the cast is the same in both, and is superb. Particularly noteworthy is Irmgard Seefried?s glowing Pamina. Wilma Lipp manages the second of the Queen?s two viciously difficult arias better than the first, but few have done better with both. Josef Greindl?s Sarastro is thrillingly dark-toned, though admittedly occasionally out of tune. The remainder of the cast is luxurious?in fact, only at a level possible in a festival setting like this.


Furtwängler collectors are going to want this?even if they have the Tahra or Music & Arts editions. The warm, clear sound here is such an improvement that it casts the performance in a new light. Helpful and interesting notes accompany the set, but (as is typical of historic reissues) no text or translation.


FANFARE: Henry Fogel

Recorded live during the 1957 Festival D'Aix en Provence, each member of the unique cast involved in this production of Mozart's Cosi fan Tutte- Stich-Randall, Berganza, Panerai, Alva - is a singer of superb ability, reputation and a fine Mozartean singer of the time. Leading a famed, historic Parisian orchestra, Hans Rosbaud (1895-1962), a stalwart conductor of music past and present who is sometimes derided as a "Kapellmeister", was, as this and other recordings of the era prove, in fine form during his last full decade of life. Remastered in 24bit/96kHz sound.

English translation by Hugh MacDonald.

"...The casting shows the depth of ENO 30 years ago, with Eilene Hannan as Mélisande, more knowing, less naive than some portrayals, the baritone Robert Dean a Pelléas with just the right mix of muscularity and lyric grace, Neil Howlett the conflicted Golaud and John Tomlinson the pontificating Arkel." - Andrew Clements, The Guardian U.K.

The characters and mainly their inner life was so autonomous and convincing that it made his final work timeless. He transformed the medieval subject matter of love at first sight into a hymn about defiance and freedom. He equipped the opera with well-arranged leitmotifs and made his characters musically vivid far beyond what the text had offered.

The Italian composer Gioachino Rossini is best known for his operas. Many of their overtures and arias were catchy tunes at the time and have remained so to this day. Although it is Rossini’s comic operas that are primarily performed today, more than half of his stage works are in fact based on serious themes. One veritable rarity is the stage work "Sigismondo", which premiered in 1814 at the famous Teatro La Fenice in Venice but was only ever rarely performed afterwards. Presumably, the story on which it was based had no appeal for the audience at that time, because musically, the work is hardly less impressive than the "Italian Girl in Algiers", written during the previous year, or the "Barber of Seville", which followed two years later. The subject of the opera is, however, based on a long tradition. Rossini shows his protagonist, the fictional King Sigismondo, in extreme states of mental distress. Confusion and insanity reveal inner feelings, and it is only delirium that finally brings the truth to light. This "madness opera" is highly topical, both in its subject matter and its musical language – after all, Rossini is among the top ten most-performed composers of our time. A concert performance of this little-known and unjustly neglected masterpiece was given at Munich’s Prinzregententheater on October 14, 2018 - in the original language, and by performers highly familiar with Rossini’s music, which seems so easy but is in fact extremely difficult to sing. This extraordinary opera event – a festival of singing that received tumultuous applause as well as great critical acclaim – is now being released on BR-KLASSIK as a live recording.

 

REVIEW:

 

It would appear at first glance that the release of this recording of one of Rossini’s more egregious operas has been primarily designed as a promotional exercise for the conductor Keri-Lynn Wilson. How else does one explain that hers is the only artist biography in the 36-page German-English booklet?

 

She is good. But the singers are good too: an exceptional cast to be assembled for a Sunday radio transmission. But that’s Germany for you, the one country in Europe which still has the desire and the wherewithal seriously to invest in opera.

 

Singing Rossini live under a skilled if sometimes hard-driving conductor is not without its perils, as is occasionally evident with the one soprano in the cast, the gifted Hera Hyesang Park, who sings the role of the exiled wife of the delusional Polish king Sigismondo. But she, too, generally acquits herself with distinction, not least in Aldimira’s striking Act 2 aria.

 

Sigismondo, an old-fashioned travesti role, is sung by Marianna Pizzolato. Both she and Kenneth Tarver as the king’s devious and sexually ambitious Prime Minister are class acts. It’s also good to hear the young Irish mezzo Rachel Kelly in the comprimario role of the minister’s sister, Anagilda.

 

Keri-Lynn Wilson — or Mrs Peter Gelb as one’s probably not allowed to call her — is an experienced conductor who has worked in leading houses across the world. Here the drive and authority of her conducting work wonders for the piece. I like the way she rescues the Overture from buffo banality by giving it a rumbustious, even dangerous feel. I also like the way the performance culminates in an electrifying account of the Act 2 quartet. Identifying and realising any work’s one true climax is a skill that eludes all too many stick-wavers.

 

Rossini wrote Sigismondo for Venice’s Teatro La Fenice in the autumn of 1814. He was 22 and on the cusp of a move to Naples and the second great phase of his career. The impresario of La Fenice warned him that the libretto wasn’t up to much and Rossini seems to have agreed. Still, he set to and came up with some vital and at times forward-looking music that had the singular merit of appeasing the first-night audience. Which is why it doesn’t perhaps matter that BR-Klassik has been negligent in its presentation—no text and translation, such as one has with Bongiovanni’s highly recommendable 1992 Rovigo theatre recording conducted by Richard Bonynge, nor the kind of track-by-track synopsis such as Naxos provides in its altogether less well-sung and less efficiently recorded 2016 Rossini in Wildbad performance.

 

 

– Gramophone