Semperoper Dresden presents an historic performance of Tristan and Isolde, directed by Marco Arturo Marelli and conducted by world-leading conductor Christian Thielemann. The sound he obtains from the Wagnerian score "fills the room with elegiac longing, drawing listeners into the emotional depths of the famous lovers." (Opera Online) Klaus Florian Vogt, in his debut as Tristan, is "fully present and convincing with natural phrasing and clear diction" (Opernmagazin), while Camilla Nylund as Isolde "convinced with her still incredibly lyrical, light soprano" (Sachsische Zeitung). At the zenith of his career, Christian Thielemann manages to set a new standard with his permeation of this difficult score and leads the Staatskapelle Dresden to new heights of artistic expression. "It would be most wonderful if this Tristan never ended." (Opernmagazin). "Brilliant performances that bring you to your knees". (Sachsische Zeitung)

Semperoper Dresden presents an historic performance of Tristan and Isolde, directed by Marco Arturo Marelli and conducted by world-leading conductor Christian Thielemann. The sound he obtains from the Wagnerian score "fills the room with elegiac longing, drawing listeners into the emotional depths of the famous lovers." (Opera Online) Klaus Florian Vogt, in his debut as Tristan, is "fully present and convincing with natural phrasing and clear diction" (Opernmagazin), while Camilla Nylund as Isolde "convinced with her still incredibly lyrical, light soprano" (Sachsische Zeitung). At the zenith of his career, Christian Thielemann manages to set a new standard with his permeation of this difficult score and leads the Staatskapelle Dresden to new heights of artistic expression. "It would be most wonderful if this Tristan never ended." (Opernmagazin). "Brilliant performances that bring you to your knees". (Sachsische Zeitung)

In 2024, near Wagner's former Zurich residence, where much of the "Ring des Nibelungen" was composed, Opernhaus Zurich staged it's first complete Ring cycle in more than 20 years, performed under the musical direction of Gianandrea Noseda. "In a way, the 'Ring' returned to it's origins," said Andreas Homoki, stage director of Wagner's grandiose myth, which depicts the rise and fall of an entire world, delving into themes of love, fate, courage, and betrayal. At it's core, the "Ring des Nibelungen" is also a family drama about Wotan, the father of the gods, and his struggle to keep and break treaties, about freedom, it's presence and absence, and his desperate attempts to halt the very downfall he set in motion. Homoki's production brings the gods, humans, and mythical beings strikingly close, making their relationships and motivations vivid and compelling through meticulous character portrayal. The same outstanding cast performs across all four operas, heightening the dramaturgic intensity: Tomasz Konieczny as Wotan, Camilla Nylund as Brunnhilde, Christopher Purves as Alberich, Wolfgang Ablinger-Sperrhacke as Mime, and Klaus Florian Vogt as Siegfried, who also gave his acclaimed role debut in Homoki's Zurich productions. Recorded live at Opernhaus Zurich May 2024

A 2019 New York Times Gift Guide Selection

This is the second release ever of Henzes famous Oratorio, after the release of the general rehearsal for the world's first premiere from 1968 by Deutsche Grammophon. Excellent sound technique, first class singers and orchestra (conducted by none other than Peter Eötvös) as well as a booklet containing detailed liner notes and the libretto contribute in making this album a very important testimony about the music of the 20th century. Henze wrote the Oratorio as a Requiem for Che Guevara and set it to a text by Ernst Schnabel. It tells the story of the French frigate Meduse, which ran aground off the west coast of Africa in 1816, immortalized in the painting of the same name by Theodore Gericault. The work employs a large orchestra, a speaker, a soprano, a baritone, and choruses. In the course of a performance, the chorus members move from left side of the stage, “the Side of the Living,” to the right side, “the Side of the Dead.”

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REVIEWS:

Looking for that special something for that special someone this holiday?

Flowers? Those die.

Jewelry? Too bougie.

A day at the spa? Namaste!

An hour-long modernist requiem on the death of Che Guevara featuring a head of snakes, sung/spoken/sprechtimme’d IN GERMAN? Dear, you are so generous. I cannot possibly repay the kindness.

– New York Times 2019 Gift Guide

Anyone who wants to know Henze or know him better would be well-served and enlivened by this one. And it would be a valuable addition to the confirmed Henze fan's library. Recommended.

– Gapplegate Classical-Modern Music Review

The 2008 Salzburg Festival production of Dvorák's opera Rusalka was outstanding even by the Festival's high artistic standards. Its exceptional nature was due in part to the fact that in the pit the Cleveland Orchestra was appearing for the first time as an opera orchestra in Salzburg. The high expectations raised by the orchestra and its Music Director, Franz Welser-Möst, were fully met, and even in the live recording of the opening night made by Austrian Radio, the conductor's genuinely dramatic approach to the work is never less than gripping.

The fairytale narrative gains in psychological focus and depth, aided and abetted by the team of soloists headed by Camilla Nylund as Rusalka and Piotr Beczala as the Prince. To the role of the water nymph, Nylund brings a beautiful lyric soprano voice that retains its focus and penetrating power even in the score's most dramatic outbursts, while the bright tenor voice of Piotr Beczala produces a convincing vocal portrait of the hapless heroine's inconstant lover, following her decision to enter the world of mortals. The remaining roles were cast from strength, notably the admonitory figure of the Water Goblin, taken here by Alan Held, whose powerful Wagnerian bass-baritone lends the role an impressive profile; Birgit Remmert, with her dark-hued, impressively full-toned voice and Emily Magee's burnished soprano, with its brilliant upper register.

Particularly gratifying in a Salzburg Festival production is the casting of minor roles with promising young singers including Eva Liebau as the Turnspit, Adam Plachetka as the Gamekeeper and the three well-modulated wood nymphs of Anna Prohaska, Stephanie Atasanov and Hannah Esther Minutillo. Appearing alongside this team of singers is the Vienna State Opera Chorus on outstanding form. All in all, then, it comes as no surprise to know that the response to the musical side of this production was extremely positive, a response which it is hoped will be repeated in the case of the present live recording.

A brand new recording in excellent sound and a Sou-Chong to challenge even the great tenors on other sets … well worth consideration.

After Franz Lehár’s initial success with Die lustige Witwe in 1905 – an operetta that harked back to the jolly 19th century works of Johann Strauss II, Millöcker and Suppé – he gradually changed direction. For him there were to be new dramaturgical models including the “lyric operetta” where the focus is on the ‘inner world of the figures’ as Doris Sennefelder puts it in her perspective building notes to this issue. Paganini, Der Zarewitsch and Friederike are all in this mould and in Das Land des Lächelns a further aspect comes to the fore, the cultural clash between East and West. The Viennese Lisa falls in love with the Chinese Prince Sou-Chong but she can’t accept the demands of Chinese values. As in every operetta of the traditional kind act 2 ends in bitter conflict. So does Die lustige Witwe but there everything is sorted out in the third act as Hanna and Danilo dance away to eternal happiness – or so we believe. In Das Land des Lächelns the conflict is resolved insofar as Sou-Chong allows Lisa to leave China and return to Vienna. He displays some humanity after all but this does not really lead to increased understanding.

The Chinese or ‘Oriental’ setting was by no means unique to opera and operetta of the late 19th and the early 20th century. Massenet’s Le roi de Lahore and Delibes’ Lakmé are well-known examples. Mascagni’s Iris and Puccini’s Madama Butterfly are others and even Gilbert and Sullivan went Asian in The Mikado. Later Lehár and Puccini actually worked in parallel on Chinese projects, Puccini with Turandot and Lehár with Die gelbe Jacke which was premiered in 1923. It was later revised and presented in new guise in 1929 with Richard Tauber in the main lead. Then it was a tremendous success. This was Das Land des Lächelns.

There is no denying that Lehár was a tremendously skilful composer. The Chinese allusions in the score are no less striking than corresponding music in Turandot. The procession with chorus at the beginning of act 2 could just as well have been written by Puccini. It is followed by a highly attractive Chinese ballet suite. Towards the end of the act the wedding procession is colourful and powerful, also incorporating quotations from Sou-Chong’s first act song Von Apfelblüten einen Kranz.

This recording is the fourth of a Lehár operetta from CPO to have come my way the last couple of years and it is in the main very successful. Ulf Schirmer, who also conducted Schön ist die Welt (review), secures excellent playing from the Munich Radio Orchestra. His choices of tempo seem unerringly right. He is very close to Otto Ackermann in the historical 1953 recording now on Naxos (review) and that is my benchmark. The long overture, with quotations from the music that follows, very clearly prepares the listener for a largely serious, even tragic play and the ballet suite in act 2 is excellently played. The chorus is also splendid. For once in a recording with spoken dialogue between the musical numbers the balance is such that one need not turn up the volume every time to hear the dialogue properly. Recorded at three live performances the technicians have succeeded in finding the best of both worlds and there is hardly any evidence of an audience. There is quite a lot of dialogue but it is separately tracked and for repeated listening this leaves the choice open for those who want to hear only the music numbers.

There is a delightful but small-voiced second couple with Julia Bauer’s Mi, who sings a charming dancing song in act 2, and Alexander Kaimbacher’s Gustl, who is agreeably lyrical in the duet with Mi in the same act. Finnish soprano Camilla Nylund as Lisa is a bit uneven and her uppermost notes tend to be rather hard and strained. She can also be lyrically appealing, not least in duet, and in the dark-tinted and operatic finale to act 2 she delivers strong dramatic singing. Prince Sou-Chong is sung by Polish tenor Piotr Beczala and he is plainly superb with a good ring in the more outgoing music. Most of all though he impresses through delicious lyric singing with carefully judged nuances that cannot be taken for granted in operetta.

I have complained in the past about sloppy presentation from CPO but in this respect they have made amends. They give us both a detailed track-list and a fairly good synopsis in three languages. I still think that a full libretto would be useful – even for German speakers.

I am not fully au fait with all existing alternative versions. Ackermann’s recording, mentioned above, with Schwarzkopf, Gedda, Loose and Kunz is a classic and at Naxos price unbeatable. Gedda’s stereo remake with Anneliese Rothenberger as Lisa is a splendid alternative and EMI’s third offer, Boskovsky’s recording with Jerusalem and Helen Donath, also has much to commend it. Robert Stolz with Rudolf Schock and Margit Schramm will certainly give pleasure, though I haven’t heard it, but for a brand new recording in excellent sound and a Sou-Chong to challenge even the great tenors on the other sets, this is well worth consideration.

-- Göran Forsling, MusicWeb International