Carl Orff: Antigonae / Sawallisch, Modl, Radev, Dooley, Kuen, Uhl

$24.99
Label
Profil
Release Date
March 30, 2010
Format
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    Featuring ⌄
    • COMPOSER
      ORFF, CARL
    • PERFORMER
      Sawallisch, Chor Des Bayerischen Rundfunks, Symphonie-Orchester Des Bayerischen Rundfunks, Mödl, Rad
    Product Details ⌄
    Works ⌄

    1. Act I: Gemeinsamschwesterliches! o Ismenes Haupt! (Antigonae, Ismene)

      Composer: Carl Orff

      Ensemble: Symphonieorchester des Bayerischen Rundfunks

      Performer: Martha Mödl, Marianne Radev

      Conductor: Wolfgang Sawallisch

    2. Act I: Bedenke, Schwester, wie der Vater, von uns (Ismene, Antigonae)

      Composer: Carl Orff

      Ensemble: Symphonieorchester des Bayerischen Rundfunks

      Performer: Marianne Radev, Martha Mödl

      Conductor: Wolfgang Sawallisch

    3. Act I: Interlude

      Composer: Carl Orff

      Ensemble: Symphonieorchester des Bayerischen Rundfunks

      Conductor: Wolfgang Sawallisch

    4. Act I: O Blick der Sonne, du schonster (Chorus)

      Composer: Carl Orff

      Ensemble: Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks

      Conductor: Wolfgang Sawallisch

    5. Act I: Ihr Manner, war's die Stadt allein (Kreon, Chorus)

      Composer: Carl Orff

      Ensemble: Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks

      Performer: Carlos Alexander

      Conductor: Wolfgang Sawallisch

    6. Act I: Mein Konig, diesmal plaudr' ich nicht (Wachter, Kreon)

      Composer: Carl Orff

      Ensemble: Symphonieorchester des Bayerischen Rundfunks

      Performer: Paul Kuën, Carlos Alexander

      Conductor: Wolfgang Sawallisch

    7. Act I: Zuletzt, als weiter nichts zu forschen war, spricht einer (Wachter)

      Composer: Carl Orff

      Ensemble: Symphonieorchester des Bayerischen Rundfunks

      Performer: Paul Kuën

      Conductor: Wolfgang Sawallisch

    8. Act I: Mein Konig, lange rat, es mochte gottlich (Chorus, Kreon, Wachter)

      Composer: Carl Orff

      Ensemble: Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks

      Performer: Carlos Alexander, Paul Kuën

      Conductor: Wolfgang Sawallisch

    9. Act II: Ungeheuer ist viel (Chorus)

      Composer: Carl Orff

      Ensemble: Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks

      Conductor: Wolfgang Sawallisch

    10. Act II: Wie Gottes Versuchung aber steht es vor mir (Chorus, Wachter, Kreon)

      Composer: Carl Orff

      Ensemble: Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks

      Performer: Carlos Alexander, Paul Kuën

      Conductor: Wolfgang Sawallisch

    11. Act II: Du also, die zur Erde neigt das Haupt (Kreon, Antigonae, Chorus)

      Composer: Carl Orff

      Ensemble: Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks

      Performer: Carlos Alexander, Martha Mödl

      Conductor: Wolfgang Sawallisch

    12. Act II: Doch weisst Du wohl, dass allzu sprode sprach (Kreon, Antigonae)

      Composer: Carl Orff

      Ensemble: Symphonieorchester des Bayerischen Rundfunks

      Performer: Carlos Alexander, Martha Mödl

      Conductor: Wolfgang Sawallisch

    13. Act II: Aber jetzt kommt aus dem Tor Ismene (Chorus, Kreon, Ismene, Antigonae)

      Composer: Carl Orff

      Ensemble: Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks

      Performer: Martha Mödl, Marianne Radev, Carlos Alexander

      Conductor: Wolfgang Sawallisch

    14. Act III: Gluckselige solcher Zeit, da man nicht schmecket das Ubel (Chorus)

      Composer: Carl Orff

      Ensemble: Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks

      Conductor: Wolfgang Sawallisch

    15. Act III: Bald haben wohl, o Sohn, mehr als die Seher (Kreon, Hamon, Chorus)

      Composer: Carl Orff

      Ensemble: Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks

      Performer: Carlos Alexander, Fritz Uhl

      Conductor: Wolfgang Sawallisch

    16. Act III: Als wie von Gott, himmlisch kommt die Besinnung (Hamon)

      Composer: Carl Orff

      Ensemble: Symphonieorchester des Bayerischen Rundfunks

      Performer: Fritz Uhl

      Conductor: Wolfgang Sawallisch

    17. Act III: Mein Konig, billig ist es, wenn er an der Zeit spricht (Chorus, Kreon, Hamon)

      Composer: Carl Orff

      Ensemble: Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks

      Performer: Carlos Alexander, Fritz Uhl

      Conductor: Wolfgang Sawallisch

    18. Act III: Geist der Liebe, dennoch Sieger (Chorus, Soloist)

      Composer: Carl Orff

      Ensemble: Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks

      Performer: Martha Mödl, Marianne Radev, William Dooley, Carlos Alexander, Paul Kuën, Fritz Uhl, Josef Traxel, Kurt Böhme, Lilian Bennigsen

      Conductor: Wolfgang Sawallisch

    19. Act III: Jetzt aber komm'ich, eben, selber (Chorus, Antigonae)

      Composer: Carl Orff

      Ensemble: Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks

      Performer: Martha Mödl

      Conductor: Wolfgang Sawallisch

    20. Act III: O Grab! O Brautbett! (Antigonae, Chorus, Kreon)

      Composer: Carl Orff

      Ensemble: Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks

      Performer: Martha Mödl, Carlos Alexander

      Conductor: Wolfgang Sawallisch

    21. Act IV: O des Landes Thebes vaterliche Stadt (Antigonae)

      Composer: Carl Orff

      Ensemble: Symphonieorchester des Bayerischen Rundfunks

      Performer: Martha Mödl

      Conductor: Wolfgang Sawallisch

    22. Act IV: Der Leib auch Danaes musste (Chorus)

      Composer: Carl Orff

      Ensemble: Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks

      Conductor: Wolfgang Sawallisch

    23. Act IV: Ihr Fursten Thebes! miteinander kommen (Tiresias, Kreon)

      Composer: Carl Orff

      Ensemble: Symphonieorchester des Bayerischen Rundfunks

      Performer: Josef Traxel, Carlos Alexander

      Conductor: Wolfgang Sawallisch

    24. Act IV: O Alter! alle, wie auf eines Schutzen Ziel (Kreon, Tiresias)

      Composer: Carl Orff

      Ensemble: Symphonieorchester des Bayerischen Rundfunks

      Performer: Carlos Alexander, Josef Traxel

      Conductor: Wolfgang Sawallisch

    25. Act IV: Der Mann, mein Konig, ging viel prophezeiend (Chorus, Kreon)

      Composer: Carl Orff

      Ensemble: Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks

      Performer: Carlos Alexander

      Conductor: Wolfgang Sawallisch

    26. Act V: Namensshopfer, der du von den Wassern, welche Kadmos (Chorus)

      Composer: Carl Orff

      Ensemble: Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks

      Conductor: Wolfgang Sawallisch

    27. Act V: O ihr des Kadmos Nachbarn und Amphios (Bote, Chorus)

      Composer: Carl Orff

      Ensemble: Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks

      Performer: Kurt Böhme

      Conductor: Wolfgang Sawallisch

    28. Act V: O all ihr Burger! eine Rede merkt' ich (Eurydice)

      Composer: Carl Orff

      Ensemble: Symphonieorchester des Bayerischen Rundfunks

      Performer: Lilian Bennigsen

      Conductor: Wolfgang Sawallisch

    29. Act V: Ich liebe Frau, sag' es, als Augenzeuge (Bote)

      Composer: Carl Orff

      Ensemble: Symphonieorchester des Bayerischen Rundfunks

      Performer: Kurt Böhme

      Conductor: Wolfgang Sawallisch

    30. Act V: Wie nimmst du dies? Die Frau ging wieder weg (Chorus, Bote)

      Composer: Carl Orff

      Ensemble: Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks

      Performer: Kurt Böhme

      Conductor: Wolfgang Sawallisch

    31. Act V: Io! unsinnige Sinne! (Kreon, Chorus, Bote)

      Composer: Carl Orff

      Ensemble: Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks

      Performer: Carlos Alexander, Kurt Böhme

      Conductor: Wolfgang Sawallisch

    32. Act V: Weh! Weh! Weh! Weh! Mich beflugelt die Furcht (Kreon, Bote, Chorus)

      Composer: Carl Orff

      Ensemble: Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks

      Performer: Carlos Alexander, Kurt Böhme

      Conductor: Wolfgang Sawallisch

    33. Act V: Um vieles ist das Denken mehr (Chorus)

      Composer: Carl Orff

      Ensemble: Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks

      Conductor: Wolfgang Sawallisch




ORFF Antigonae • Wolfgang Sawallisch, cond; Martha Mödl ( Antigone ); Carlos Alexander ( Creon ); William Dooley ( Chorus Leader ); Fritz Uhl ( Haemon ); Marianne Radev ( Ismene ); Paul Kuen ( Guard ); Joseph Traxel ( Tiresias ); Kurt Böhme ( Messenger ); Lilian Benningsen ( Eurydice ); Bavarian RSO & Ch • PROFIL 09066 (2CDs: 143:06) Live: Munich 1958


Every collector knows Orff’s Carmina Burana . Many are acquainted with the Catulli Carmina . Fewer know that Orff, after World War II, produced three theater works that aimed to create a contemporary equivalent of the ancient performances of Greek tragedy, heightening the texts with his paradoxically archaic-sounding modern music, and with dance. Antigonae first in 1949 and then Oedipus der Tyrann in 1959 make use of the highly expressive 1804 German adaptations of the Sophocles plays by Friedrich Hölderlin. ( Prometheus , from 1968, sets Aeschylus’s Greek.)


As in the setting of Catullus poems, the orchestra is stripped of much of the color that makes Carmina Burana so popular, while retaining the visceral impact of a large ensemble. Antigonae requires six pianos, four harps, six each of flutes, oboes (three doubling English horn), and muted trumpets, nine double basses, and a large battery of percussion. The combination makes a wonderful noise in full cry, though Orff uses the whole orchestra sparingly and, much of the time, quite delicately. Opera singers of the first rank are required, but it is not an opera as such. The text is generally sung with little accompaniment, frequently at the extremes of the range, in an intensely rhythmic chant. Piano and tuned percussion are used to establish key, add color, and punctuate the line. Occasionally greater forces are used to amplify emotion, as in Creon’s and Antigone’s pivotal scenes, and to accompany the chorus. There are, however, lengthy stretches of heroically declaimed, sparsely accompanied German. This may sound monotonous, but throughout the many hours spent listening to three versions of the two-and-one-half hour work in review, plus a recording of the later Oedipus , I did not find it so.


I say this despite little German comprehension, and the recording’s lack of texts, or even a reasonable synopsis. One may secure a translation of Hölderlin’s verse, which Orff set line-for-line, but at more than half of the cost of the recording. Doing so will add to the appreciation of the work, yet in truth, with some knowledge of the story, Orff and the extraordinary performers make this a moving experience without translation. For those fluent in German, the wonderful diction and clear recording should make a libretto unnecessary.


If lack of text is a weakness—and in fairness, this is common to all releases—it is the only one. If one is going to issue a recording of such an obscure work, one best make it a superlative one, and that is just what Profil has done. On disc, the work has been almost exclusively the property of the Bavarian Radio. After the 1949 premiere at Salzburg, recorded but currently out of print, all but one CD release has been made in Munich either by the Radio Symphony Orchestra and Chorus, or the State Opera. Georg Solti’s 1951 recording on Orfeo is distinguished by the incomparable Creon of Hermann Uhde, but is put out of contention for a general recommendation by some rather scrappy orchestral and choral execution. Ferdinand Leitner’s is a studio recording from 1961, notable for the conductor’s subtle and nuanced pacing, which gives a spiritual quality to a performance that emphasizes character delineation. Inge Borkh is a vulnerable Antigone, heartbreaking in her grief and moving in her preparation for death. The recording, which I admire greatly, is currently available only as a download, so the discovery and release of this Sawallisch live recording from 1958 is particularly welcome.


Sawallisch was recording a fair amount of Orff in this period: a 1956 monaural EMI Carmina Burana that rivals Jochum’s classic account (DG) for acute conducting, and splendid recordings of the two fairy tale operas, Der Mond and Die Kluge , also for EMI in 1956–57. He was therefore an old hand at Orff by the time he led this performance. He does not linger as much as Leitner—his performance is more than a quarter-hour faster—exchanging some poignancy and understatement for an implacable sense of impending doom. Martha Mödl’s imperious Antigone fits into this approach perfectly, as does Carlos Alexander’s pitiless Creon and Fritz Uhl’s desperate Haemon. Paul Kuen is a fine Mime-like Guard, but must give pride of place to Gerhard Stolze’s conspiratorial reading for Leitner. William Dooley sings the Chorus Leader movingly, and the men of the Bavarian Radio Choir are the finest group to record this music, even preferable to their subsequent outing three years later. The remaining singers are equally fine, with special mention necessary of Kurt Böhme’s sonorous Messenger.


The recording itself is a marvel, showing almost no sign of its age. It is monaural, but with subtle ambient processing that provides some sense of space without adding artificial reverberation. (The booklet is silent on the matter, but the effect is pleasantly audible, and visible when scoped.) The sound is detailed and immediate, with remarkable percussion transients, solid bass, and the voices placed naturally in relation to the instruments. (Leitner achieves some of his delicacy and intimacy through forward placement of the voices.) The audience is almost completely silent. In all, this is the most desirable of the recordings of this work, a superb introduction to Orff’s too-seldom explored Greek tragedies, and a gripping dramatic experience.


FANFARE: Ronald E. Grames