Romantic Era
Era
Music of the nineteenth century and the years either side of it, roughly 1800 to 1910. Composers of the period pushed the orchestra to its largest size yet, stretched harmony towards its limits, and treated a piece of music as a vehicle for personal feeling and for national identity. Expect symphonies on a grand scale, opera at its most theatrical, and a vast literature for solo piano.
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Tchaikovsky: Eugene Onegin / Ticciati, Stoyanova, Keenlyside, Maximova
Opus Arte · Oct 2013DVD$39.99 -
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Wagner: Die Meistersinger / Jurowski, Finley , Selinger, Miles, Gabler, Jentzsch [blu-ray]
Opus Arte · Oct 2012Blu-Ray$39.99
Berlioz: Concert Overtures / Cambreling, SWR Sinfonieorchester
The present release contains Hector Berlioz's complete concert overtures, including the one written for his early opera Les francs-juges, superbly performed by the SWR Sinfonieorchester Baden-Baden und Freiburg directed by the French conductor Sylvain Cambreling. French composer Hector Berlioz wrote a number of overtures, many of which remain concert staples. They include not only overtures intended to introduce operas, but also independent concert overtures. The album opens with one of the most popular overtures, Waverly, Op. 1. Composed in 1828, it was inspired by Sir Walter Scott’s Waverly novels. Also included are Le Carnaval romain, Op. 9, a standalone overture intended for concert performance made up of material from the opera Benvenuto Cellini, Le Corsaire, Op. 21, and others. This album is part of a new re-release series (Century Classics) consisting of SWR music bestsellers. The series is competitively priced, optically highly attractive and contains acclaimed SWR recordings mostly of the SWR orchestras and their chief conductors.
Kuhlau: Piano Sonatas / Luhr
Friederich Kuhlau was among the most important early Romantic composers in Denmark, becoming known as the ‘Danish Beethoven’ for his popular works for flute. The etude-like Piano Sonata, Op. 127 reveals a deep expressiveness reminiscent of Chopin’s studies, while the sophisticated Piano Sonata, Op. 8a shows Kuhlau’s contemplative, darker side before closing with typical virtuoso esprit. The charm and elegance of the Sonatina, Op. 21 No. 1 has delighted piano students for generations. Jens Luhr was born in the same town as Friedrich Kuhlau, Uelzen, in northern Germany. There at the local music school, Luhr played- along with many other young piano students- the Kuhlau Sonatinas. He went on to study at the prestigious conservatories of music in Hannover, Wurzburg, Basle, and Leipzig. Luhr is known as a soloist and chamber musician, as well as being an interpreter of contemporary music, playing or taking part in several premieres. In 2012 and 2014 he won second prize at the International Music Competition of France in the highest category for pianists.
Verdi: Aida / Oren, Tagliavini, He, Berti, Trevisan, Maestri
Giuseppe Verdi
AIDA
Aida – Hui He
Radames – Marco Berti
Amneris – Andrea Ulbrich
Amonasro – Ambrogio Maestri
The King – Roberto Tagliavini
High Priestess – Antonella Trevisan
A messenger – Antonello Ceron
Arena di Verona Ballet
Arena di Verona Chorus and Orchestra
Daniel Oren, conductor
Gianfranco De Bosio, stage director
Recorded live at Arena di Verona, June 2012
Bonus:
- Cast gallery
Picture format: NTSC 16:9
Sound format: LPCM 2.0 / DTS 5.1
Region code: 0 (worldwide)
Subtitles: English, French, German, Japanese
Running time: 150 mins
No. of DVDs: 1
Raff: Piano Works, Vol. 6
Meyerbeer: Robert le Diable / Hymel, Ciofi, Oren
MEYERBEER Robert le Diable • Daniel Oren, cond; Marina Poplavskaya (Alice); Patrizia Ciofi (Isabelle); Bryan Hymel (Robert); John Relyea (Bertram); Jean-François Borras (Raimbaut); Nicolas Courjal (Alberti); Royal Opera Ch & O • OPUS ARTE 1106 (2 DVDs: 211:00) Live: Covent Garden 12/15/2012
Robert le Diable marked two important firsts for Giacomo Meyerbeer (1791–1864): it was his first opera composed to a French rather than an Italian libretto, and his first collaboration with librettist and exact contemporary Eugène Scribe (1791–1861). It was a smash success upon its premiere on November 21, 1831, defining the genre of grand opera, and by some accounts was the most performed opera of the 19th century. (The act 3 ballet, in which a group of debauched nuns rise from their graves to reindulge their carnal appetites, created a sensation, though it doubtless later provided ammunition for the influential antisemitic element in the conservative wing of the Roman Catholic Church in France for attacks upon the composer at the end of the century, contemporaneous with the Dreyfus scandal and the rise of the fascist Action Française.) However, once the fashion for grand opera waned after Meyerbeer’s death, the composer and his works sank into desuetude, from which he and they have fitfully but increasingly emerged in the last 30–40 years, as former shibboleths and prejudices against him have waned and his contributions have been re-evaluated.
The booklet that accompanies this DVD release features an uncommonly intelligent essay by Robert Letellier, which argues that, contrary to the standard portrait of Meyerbeer as someone who merely catered to the bourgeois tastes of his time and sought and achieved success through spectacular but superficial musical and dramatic effects, the composer in fact had far loftier and more substantive concerns: “Much of Meyerbeer’s work as a dramatic artist focuses on the theme of faith and what this means in terms of the great choices of life....His most famous French operas [Robert le Diable, Les Huguenots, Le Prophète, L’Africaine] constitute a tetralogy in which the issues of faith, history, society and personal choice interact with the demands of intransigent religion and politics.” In the particular case of Robert le Diable, a “theological dimension” of “a spiritual drama about sin and salvation” is intertwined with such issues as “the attainment of the balanced personality, the issues of heredity and the demands of life fully lived in the present. It is also about making social and political choices between opposing and equally absorbing options: on the one hand party affiliation, the pursuit of corporal pleasure, financial acquisitiveness and sexual license; on the other, the quest for higher, spiritual and more altruistic ideals.” Moreover, Meyerbeer’s contemporaries understood the seriousness of his objectives as well, with for example the noted and highly influential author and critic Théophile Gautier (1811–1872) writing a penetrating critique of Le Prophète in 1858–59 which discussed that opera and its two predecessors as forming “an immense symbolic trilogy, filled with profound and mysterious meaning: the three principal phases of the human soul are represented there: faith, examination, and illumination.”
Since Christopher Williams provided a superb plot summary in his review in 27:1 of a 2003 CD set of the opera on Dynamic conducted by Renato Palumbo, I will omit that here and refer readers to his synopsis instead. The staging of this production is what I would term “postmodernist pastiche,” freely mixing updated elements of the setting of the plot (11th-century Italy) with those of its composition (19th-century France) and the present day. Act 1 is set in a French café that features the stereotypical red-and-white checkered tablecloths of many such establishments, but on the café roof are life-size plastic horses in neon day-glo colors (blue, green, red, orange, and yellow). The knights wear medieval suits of plate armor, but Robert wears a sport coat with portions cut away to expose the armor (apparently to signify his divided moral character, with deep longings for both good and evil), while the diabolical Bertram is clad in a dark full-body suit, plus a 19th-century full-length overcoat and enormous stovepipe hat. In act 2, the castle is a set of miniature cut-out frames of stone walls, turrets, etc., about five to six feet tall, set against a black and blue diamond checkerboard background, almost creating the effect of the characters moving through a child’s play set. Isabelle wears a kitschy headpiece consisting of a halo of little stars sticking out on wires, while Robert is now garbed in a full sport coat and open-necked dress shirt. Both Alice and Isabelle are arrayed in very simple dresses, the former in red and the latter in white. The plastic horses are now on ground level; the armor-clad knights float in, suspended in mid-air on wires, and are then lowered onto their faux steeds. In act 3, scene 1, the setting of mountainous clefts and caves is created with painted backdrops of thin black-and-white and red-and-white stripes. The ballet that follows in scene 2 has a red lattice framework backdrop and rectangular cage-like tombs from which the nuns emerge to cavort amidst gravestones. Act 4 utilizes the same set as act 2, with the addition of a throne in the foreground and the bathing of the proceedings in lime-green light. Act 5 uses an abstract stencil frame to suggest a church building, on either side of which Alice and Bertram respectively stand before cartoonish backdrops of a heavenly cloud bank and a giant dragon’s head. Somehow, this kitschy, tongue-in-cheek farrago of unmatched elements works better than the description of it sounds (it reportedly was roundly criticized in the British press); it strikes me as a little silly and at times perhaps slightly amusing, but it doesn’t disturb me or create any occasion for offense, unlike so much of current Regietheater.
The music itself strikes me as being of highly uneven character; in particular that of the first two acts seems quite ephemeral before Meyerbeer hits his dramatic stride with the opening of act 3. Even then, the best parts of the score are nowhere near a match for that of Les Huguenots, which followed a mere five years later; Meyerbeer greatly advanced in his craft during that short interval. However, this performance is musically excellent and presents the score to its best advantage. A CD recording of a live performance from Salerno, with a partially overlapping cast (Ciofi, Hymel, and Oren) was just issued by Brilliant Classics and reviewed by Lynn René Bayley in 37:1. Ciofi and Hymel are as excellent here as there: Ciofi, who has made a specialty of the role of Isabelle over the years, has in her top notes a bit of acidity and oscillation in the vibrato, but she is a committed and affecting interpreter. After taking a very brief time to warm up, Marina Poplavskaya is a superbly touching Alice, demonstrating why she is justly in demand for lyric soprano roles in opera houses all over the world. As Robert, Bryan Hymel lives up to his recent spectacular press coverage as the tenor Bryn Terfel (whom he resembles physically to no small degree); he is the real deal, with a ringing, securely produced voice possessing both heft and sheen, and is able to bang out the stratospheric high notes (even if a couple of roulades around high C and D sound a bit strained). For his part, John Relyea boldly steps into the shoes of Samuel Ramey in the role of Bertram and fills them most ably, with his firm, sonorous, sepulchral bass filling the theater and limning out the diabolical dimension of his satanic character. The supporting cast is generally fine, with the excellent Raimbaut of Jean-François Borras deserving special mention. In comparing this to the Brilliant Classics version, there is no question that this is the superior performance, with Poplavskaya, Relyea, and Borres all being notably superior to their counterparts on CD and Hymel in even better voice here. Conductor Daniel Oren has in the past struck me as being merely competent, but here he seems to have found some special inspiration and provides fine leadership from the podium that is both energetic and lyrical, while the chorus and orchestra of Covent Garden are up to their usual high standards. The recorded sound and film quality are both excellent as well. A cast gallery and a brief documentary, “The Legacy of Robert le Diable,” are provided as extras.
Like all of its predecessors on LP and CD (see the list in Bayley’s review), this version is not unabridged, though the cuts are relatively minor and far fewer than in most other versions. Likewise, by every other measure, this performance far outstrips all of those previous versions for superior singing, instrumental playing, and sound quality. It’s been far too long a wait, but at last all four of Meyerbeer’s grand operas finally have recorded performances in one medium or another (CD or DVD) that do them justice; highly recommended.
FANFARE: James A. Altena
WAGNER, R.: Rheingold (Das) (Liceu, 2004) (NTSC)
Liszt: Paganini Etudes / Tomellini
Young and talented Elisa Tomellini loves challenges and is used to climbing high mountain peaks. Both physical as well as musical. No wonder then that she is the first woman to perform the first version of the Etudes aprés Paganini (S.140) that Robert Schumann reviewed as “the most difficult work ever written for the piano, as is the original for the violin. Certainly only a few pianists will be able to tackle them, perhaps no more than four of five in the world.” Dynamic is proud to feature one of them. As pianists almost always play the simplified version re-written by Liszt himself in 1852, the album Paganini Études and other virtuoso piano works contains the first 1838 version that Liszt wrote inspired by the Caprices, successfully achieving on the piano an extreme virtuosity that was unprecedented in that instrument’s literature. Born in Genoa, Italy, Elisa Tomellini has been studying piano since the age of five. She was admitted to the prestigious Music Academy ‘Incontri Col Maestro’ in Imola at the age of sixteen. In 1997 she gained a diploma at the Conservatory G. Verdi in Milan. She has won several pries at international competitions such as the ‘Viotti Valsesia,’ the ‘Concorso di Cantu’ and the ‘Concorso Citta di Pavia.’
Tchaikovsky: Eugene Onegin / Ticciati, Stoyanova, Keenlyside, Maximova
Pyotr Il’yich Tchaikovsky
EUGENE ONEGIN
Tatyana – Krassimira Stoyanova
Eugene Onegin – Simon Keenlyside
Olga – Elena Maximova
Lensky – Pavol Breslik
Prince Gremin – Peter Rose
Madame Larina – Diana Montague
Royal Opera House Chorus and Orchestra
Robin Ticciati, conductor
Kasper Holten, stage director
Recorded live at the Royal Opera House, Feburary 2013
Picture format: NTSC 16:9
Sound format: LPCM 2.0 / DTS 5.1
Region code: 0 (worldwide)
Subtitles: English, French, German, Italian, Japanese, Korean
Running time: 154 mins
No. of DVDs: 1
La vie d'une rose / Silver, Tocci, Bonynge
Verdi: La Traviata / Manacorda, Royal Opera House [Blu-ray]
Americana / US Coast Guard Band
Webster's Dictionary defines "Americana" as "things typical of America." The "typical American" optimistic spirit is captured in the sweeping melodies and triumphant sonorities of composer James Beckel's "American Dream." Directed by Commander Lewis J. Buckley, the United States Coast Guard Band strives to express its great patriotism on this album, Americana. (Altissimo)
Wagner: Die Meistersinger / Jurowski, Finley , Selinger, Miles, Gabler, Jentzsch [blu-ray]
Also available on standard DVD
English-speaking audiences have always found Die Meistersinger to be a life-enhancing celebration of wisdom, art and song. So it proves in David McVicar's production – the first at Glyndebourne – which is updated to the early-19th century of Wagner's childhood. At the centre of a true ensemble cast is Gerald Finley, a 'gleamingly sung', 'eminently believable' Sachs (The Independent on Sunday), supported by the dynamic conducting of Vladimir Jurowski which, like McVicar's production, uses Glyndebourne's special intimacy to bring sharp focus to bear on the subtlety of Wagner's musical and dramatic counterpoint.
McVicar has put on a great show with style, intelligence and insight. -- The Telegraph
Musically, it was judged faultlessly for the scale of the theatre by Vladimir Jurowski, who conjured playing of mercurial clarity not the first words one would normally choose for this gargantuan score from the London Philharmonic Orchestra, sustained with unfailing vigilance and concentration. -- The Guardian
Richard Wagner
DIE MEISTERSINGER VON NÜRNBERG
(Blu-ray Disc Version)
Walther von Stolzing – Marco Jentzsch
Eva – Anna Gabler
Magdalene – Michaela Selinger
David – Topi Lehtipuu
Veit Pogner – Alastair Miles
Sixtus Beckmesser – Johannes Martin Kränzle
Hans Sachs – Gerald Finley
Kunz Vogelgesang – Colin Judson
The Glyndebourne Chorus
London Philharmonic Orchestra
Vladimir Jurowski, conductor
David McVicar, stage director
Recorded live at Glyndebourne, Lewes, July 2011
Picture format: 1080i High Definition
Sound format: LPCM 2.0 / DTS 5.1
Region code: 0 (worldwide)
Subtitles: English, French, German
Running time: 300 mins
No. of Discs: 1 (Blu-ray)
R E V I E W:
WAGNER Die Meistersinger von Nürnberg • Vladimir Jurowski, cond; Anna Gabler ( Eva ); Michaela Selinger ( Magdalene ); Marco Jentzsch ( Walther von Stolzing ); Topi Lehtipuu ( David ); Gerald Finley ( Hans Sachs ); Johannes Martin Kränzle ( Sixtus Beckmesser ); Alastair Miles ( Veit Pogner ); Glyndebourne Festival Ch; London PO • OPUS ARTE OA 1085 D (2 DVDs: 300:00) OA BD7108 (Blu-ray) Live: Glyndebourne 6/2011
John Christie, Glyndebourne’s founder, was Wagner-obsessed and would have dearly loved to present one of the composer’s operas early-on in the Festival’s history. But such an undertaking was not a reasonable possibility in Glyndebourne’s original 300-seat theater. As John Christie’s grandson recounts in one of this Blu-ray’s “extras,” an early Glyndebourne conductor commented “if you put on Wagner, you’ll need to put the audience on the stage and the stage in the auditorium.” Glyndebourne got a new opera house in the 1990s, seating 1,250, and Wagner finally came to East Sussex in 2003 with a production of Tristan und Isolde. This David McVicar-directed Meistersinger represents Glyndebourne’s second Wagner staging, and it’s something special.
Die Meistersinger , at one level, is about intergenerational conflict and being able to cast younger singers as the quartet of lovers is a real plus. (The recent PentaTone Meistersinger on SACD succeeds, in part, because those singers at least sound youthful.) At Glyndebourne, McVicar notes, he could “cast singers that are appropriate to the ages of their characters and are physically convincing.” Marco Jentzsch, the strapping Walther, has got to be 6’3” or 6’4”—a far cry from the all-too-common fireplug Stolzings, whose boots come up most of the way to their protuberant abdomens. If Jentzsch can’t belt out the Prize Song as powerfully as a Ben Heppner or Peter Seifert, he’s fully up to the lyrical requirements of the role and his voice has a pleasant timbre. The Finnish tenor Topi Lehtipuu handles the part of David very effectively, both his character’s palpable horniness and, more critically, the act I exegesis on song writing. Anna Gabler is a complex and passionate Eva, as confused as Nuremberg’s shoemaker about the possibility of a future as Mrs. Hans Sachs. Michaela Selinger, the Magdalena, is perky and vocally appealing.
Alistair Miles portrays a Pogner that is Sach’s equal in intelligence and integrity, despite his fat-cat status; Johannes Martin Kränzle’s Beckmesser executes the requisite physical comedy and manages just the correct amount of pedantry and pride to define the town clerk’s obvious short-comings while leaving him a sympathetic character. Beckmesser, here, is a victim of his own personality failings rather than a fundamentally bad person. Any Meistersinger, of course, depends on its Sachs to keep our interest up for five hours, and Gerald Finley is a superb one. He happens to be the best singer here, but his acting is what makes this production so compelling. Finley’s character, we know from the outset, is thoroughly engaged with the dual goals of achieving artistic progress and promoting Stolzing’s romantic efforts—but is also a very conflicted human being. When the curtain goes up for act III, it’s clear that Sachs has been drinking all night and he kicks some furniture around. He uncovers a portrait of his late wife. And just before Walther enters to compose his song, we see Sachs pick up a pen to write something—presumably a contest song to compete for Eva himself. The Knight comes into the workshop and Sachs backs away from the abyss.
It’s that sort of theatrical detail that makes this production exceptional. The size of the stage and hall is still small by Metropolitan Opera or Covent Garden standards and allows for a high level of intimacy. As McVicar tells us “Everyone on stage is a character and has a story.” Watch the Masters as they congregate in acts I and III, especially the guy with the ear trumpet. That’s “Ulrich Eisslinger,” not exactly a major role—he has one line in the act I roll call. The part is positively savored by Adrian Thomson, who responds to every event on stage with facial expressions and body language that are alone practically worth the price of admission. And look at the Masters’ faces when Walther’s final version of the Prize Song takes an unexpected harmonic turn. These guys—the singers and their characters—are really listening deeply.
McVicar moves the action from the 16th century to the early 19th, the era into which the composer was born. In a second extra feature, Die Meistersinger —An Opera with Baggage, the director reminds us that the 1820s and 1830s were a time before Unification when Germans “could point to their culture as an expression of their national identity.” By considering Meistersinger in the context of this time frame, McVicar doesn’t need to directly address the future commandeering of this work for the vilest of nationalistic purposes. I like any Meistersinger where Beckmesser stays on stage after his humiliation. He’s not the “other”—he’s still part of a community.
The production is sumptuously lit and filmed, in the same league as the Met’s venerable Otto Schenk version—and the meadow scene is a real eyeful. The sound is richly detailed with excellent vocal/orchestral balances. (In multichannel, the “auf den theater” brass fanfares are definitely coming from afar.) Subtitles are offered in English, French, and German. Glyndebourne’s Meistersinger goes straight to the top of the heap among the eight video versions in my collection. It registers here, to use David McVicar’s words, as “a profoundly human, wise, warm, loving work.”
FANFARE: Andrew Quint