Puccini: Madame Butterfly (Highlights)

Jenufa was Janácek’s third opera, based on the play Její pastorkyna “Her Stepdaughter”, by Gabriela Preissová. The libretto is a grim tale of complicated relationships in a village context, with violence and tragedy driving the drama. More importantly, this is the opera in which Janácek’s distinctive musical voice became more established after the folk-influenced Romanticism of his earlier period.

There are quite a few recordings of Jenufa around these days, and I pulled out my copy of the classic 1977 Supraphon recording conducted by František Jílek by way of orientation. I had forgotten quite how good this is, and still sounding very fresh despite its vintage. I was glad to have it to hand, since the libretto in the booklet for this Graz recording is given only in Czech and German, the Supraphon edition helping us out with both English and French as well.

The Graz cast is good, with the main characters all strong enough and mostly well characterised. There are a few weaker moments, but I’m reluctant to point out any names in particular since voices I’d marked up as being weaker links tended to redeem themselves further along. Recorded live, this Graz recording is very much a theatre version as you would expect, so if you are used to more opulent versions such as the EMI, now Warner Classics Prague recording with Libuse Domaninská conducted by Bohumil Gregor this might seem a step backwards. There are advantages to be heard however. The vocal balance is much more natural in the Oper Graz, and while the scale is less grand the orchestral detail is more direct, the impact of the drama less extravagantly ‘operatic’, if you follow my meaning. If language is an issue then Chandos’s version in English might be of interest, but you still need the libretto to hand to really be able to follow what is going on. With Janácek’s specific connections with the setting of his native language to music this always sounds like a distortion too far for me – even with the authoritative conducting of Sir Charles Mackerras.

This Graz production is not the last word on Jenufa. That honour probably has to go to Elisabeth Söderström and Sir Charles Mackerras with the Vienna Philharmonic on Decca, but this Oehms Classics recording is a version which will grow on you. Personally, I have to admit finding it hard to avoid being drawn back to the special character brought to the title role by Gabriela Benacková in that Supraphon recording. There is no denying that the strength of an all-Czech cast and orchestra is very compelling in this opera. Gal James is very good as well though, and deeply affecting in crucial moments such as Scene 6 in Act 2 where, all alone, Jenufa sings of her baby as yet oblivious to the unfolding tragedy. The Stepmother’s anguished cry towards the end is truly chilling, and stands as an emblem for the admirably realistic approach in this production – one you can add to your collection with confidence.

-- Dominy Clements, MusicWeb International

LEONTYNE PRICE SINGS STRAUSS A

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This selection features Leontyne Price reading the story of 'Aida' along with highlights from the opera.
REVIEWS:
Opera News (5/00, p.82) - "...The narrative itself is completely successful. The plot has been reduced for clarity, but the characters maintain individuality....Most importantly, the directness, warmth and drama of Price's storytelling involve the listener irresistibly..."

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A timely re-issue of the legendary 1960 live concert performance in Salzburg featuring a dazzling firmament of legendary singers all in the prime of their singing careers: Leontyne Price, Eberhard W�chter, Hilde R�ssel-Majdan, Fritz Wunderlich and Walter Berry. With the great Herbert von Karajan leading the Vienna Philharmonic and the soaring Wiener Singverein, this is a most distinguished performance of Mozart's Requiem.

The Frankfurt Opera and Museum Orchestra is one of the most important orchestras in the Germans-peaking world. In 2001 it was selected Orchestra of the Year for the third time in succession in the critics' survey of the specialist journal Opernwelt. Currently they perform as a concert orchestra at the Museum Concerts organized by the Museum Society.

ANTONIN DVORAK: Eduard Haken; Milada Subrtova; Ivo Zidek; Marie Ovcacikova; Prague National Theatre/Zdenek Chalabala. ANTONIN DVORAK: Rusalka.

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Following the Walhall release of Wagner’s Die Walküre, the label closes its legendary 1958 Bayreuth Festival Ring tetralogy publication with the 1st, 3rd and final operas, led by the mid-20th c. Bayreuth pit regular and esteemed Wagnerian conductor Hans Knappertsbusch. The sound, benefitting from 24bit/96kHz re-mastering technology is great, far better than any other label’s previous issue, Walhall also reaping the sound reward from the use of the original broadcast mastertapes. Featured Wagnerian vocal luminaries include Hotter, Windgassen, Varnay, Konya, Grümmer, et al.

Classical Music

Classical Music

Classical Music

Following the Walhall release of Wagner’s Die Walküre, the label closes its legendary 1958 Bayreuth Festival Ring tetralogy publication with the 1st, 3rd and final operas, led by the mid-20th c. Bayreuth pit regular and esteemed Wagnerian conductor Hans Knappertsbusch. The sound, benefitting from 24bit/96kHz re-mastering technology is great, far better than any other label’s previous issue, Walhall also reaping the sound reward from the use of the original broadcast mastertapes. Featured Wagnerian vocal luminaries include Hotter, Windgassen, Varnay, Konya, Grümmer, et al.