What Opera Are You Listening to Now?

[André]

Handel's last authentic masterpiece, an oratorio sometimes mounted for the stage. There is little difference between the two genres in Handel's output. His greatest oratorio is of course Messiah, but Samson, also listed as an oratorio is often in the repertory of opera houses.

Jephta has some fine dramatic and musical moments, all dealing with the tragedy of Iphis' sacrifice and Jephta's subsequent distress. There are only 5 characters, plus the obligatory Angel descending from heaven to neatly arrange a happy end. General rejoicing.

The orchestral writing is often arresting. All characters have important scenes and arias. One bone of contention common to all recordings is the casting of Hamor, Iphis' fiancé. Handel wanted the castrato Guadagni for the role but he wasn't available. It is unclear who sang the role in the first run, but it appears it would have been Isabella Young, a 17-year old mezzo soprano (and incidentally composer Thomas Arne's niece). Nowadays it is taken up by countertenors. On record the likes of Paul Esswood and Michael Chance have sung it. On this recording it is sung execrably by one Robert Expert (!) He hoots and wobbles his way through the role with the voice of a capon. A pity, since there is no dearth of excellent countertenors (Fagioli, Daniels). A fine contralto would also been effective. In any case, it (he) is the only negative point in this otherwise superb recording. Great conducting and playing (PI), fine sound.

[nico1616]

Ballo is such a great opera with so many fabulous recordings. Today I enjoy the Price/Bergonzi/Merrill/Leinsdorf one.

[Kalevala]

Ballo is such a great opera with so many fabulous recordings. Today I enjoy the Price/Bergonzi/Merrill/Leinsdorf one.

That's a wonderful one! 

K

[André]

Franz Schmidt's opera Notre Dame is not heard much (if at all) nowadays, but the orchestral bits often appear in orchestral recitals or as fillers to one of the composer's symphonies. It's a 2hour piece, so not really taxing time-wise, with a beautiful balance between vocal characterization and active orchestral commentary.

This 1989 performance has a great lineup of soloists, but alas the Esmeralda of Gwyneth Jones sounds too mature. Jones' large dramatic soprano voice is wrong for the role anyways and her singing is affected by a persistent wobble. The basic tone is lovely but the constant wobble is a distraction. Similarly, James King (Phoebus) is way past his prime, but he retains most of the metal and solid tone that allowed him to sing countless Siegmunds and Das Lied von der Erde in concert and on disc. Kurt Moll is the excellent Quasimodo. Excellent orchestral contribution by the esteemable RSO Berlin. Very good recorded sound, clear, natural, uncluttered.

[Kalevala]

Franz Schmidt's opera Notre Dame is not heard much (if at all) nowadays, but the orchestral bits often appear in orchestral recitals or as fillers to one of the composer's symphonies. It's a 2hour piece, so not really taxing time-wise, with a beautiful balance between vocal characterization and active orchestral commentary.

This 1989 performance has a great lineup of soloists, but alas the Esmeralda of Gwyneth Jones sounds too mature. Jones' large dramatic soprano voice is wrong for the role anyways and her singing is affected by a persistent wobble. The basic tone is lovely but the constant wobble is a distraction. Similarly, James King (Phoebus) is way past his prime, but he retains most of the metal and solid tone that allowed him to sing countless Siegmunds and Das Lied von der Erde in concert and on disc. Kurt Moll is the excellent Quasimodo. Excellent orchestral contribution by the esteemable RSO Berlin. Very good recorded sound, clear, natural, uncluttered.

Thank you for your detailed review!    I have not heard of that opera.  Is it closely based upon Victor Hugo's story?

I must admit when I first saw the cover, I was thinking that "There's windblown [hair] and WINDBLOWN." 

K

[André]

Yes, it's based on Hugo's story, but I don't know how closely though, as I haven't read the original. No libretto can do justice to Hugo's protean canvases, so I'd imagine no more than 10 % of the novel ended up in the libretto.

Hugo von Hoffmannstahl praised Schmidt's balance of orchestra and voices by writing (to Strauss) that he easily heard at least half of the sung lines from his seat in the theatre. He went on to suggest he (Strauss) should try do write in the same way for their next collaboration. I'm not sure RS appreciated the advice ! !

[nico1616]

I grew up with the Gardiner Idomeneo, which I still love. This one is from 1956, so an old-fashioned Mozart with a tenor Idamante. This takes a bit getting used to, but Simoneau is just fantastic. I even prefer him to Von Otter on the Gardiner. The rest of the cast is nice, especially the Ilia of Sena Jurinac. Quite a discovery!

[Iota]

An absolutely stellar turn from Christie in this Seraglio, the score positively leaps off the page, thrilling from start to finish. All involved comfortably pass muster too, with particular mention to Christine Schäfer and Patricia Petibon, who rise to the technical difficulties of their parts superbly.
And as for Herr Mozart! .. Seraglio is just riddled with catchy tunes, a cup that seems to run endlessly over! I wonder if said tunes seem to spring out quite so clearly, because of the relative lack of underlying dramatic depths in comparison to the later operas to distract as it were? Whatever, the whole opera just fizzes with confidence, is an immense pleasure, and like Cosi is not remotely hampered by its silly story.

[Florestan]

Seraglio is just riddled with catchy tunes, a cup that seems to run endlessly over! I wonder if said tunes seem to spring out quite so clearly, because of the relative lack of underlying dramatic depths in comparison to the later operas to distract as it were? Whatever, the whole opera just fizzes with confidence, is an immense pleasure, and like Cosi is not remotely hampered by its silly story.

To Hell with dramatic depth and convincing stories! We're talking about music, not philosophy! I'd rather listen to Rossini's three-minute Laundry List Aria (alas! he never wrote it...) than to any four-hour pseudo-philosophical musical drama! And the very fact that I can instantly hear @ritter retorting "O ciel, che noia!" speaks volumes about my being right and his being wrong... 

Seriously now, DEADS is an absolutely charming opera. My favorite version is this:

[ritter]

O ciel, che noia!

Have you ever heard me say something derogatory about any Mozart opera, mein lieber Florestan?

[Florestan]

O ciel, che noia!

QED.

Have you ever heard me say something derogatory about any Mozart opera, mein lieber Florestan?

Jamais de ma vie, mon cher.

But if I may ask, which opera did I say something derogatory about in my reply above?

[ritter]

QED.

Jamais de ma vie, mon cher.

But if I may ask, which opera did I say something derogatory about in my reply above?

I thought you are implying I somehow frown on the Seraglio... my bad.

It's all good, anyway: you listen to your Lanner, I'll listen to my Boulez...

Un abrazo,

[Florestan]

I thought you are implying I somehow frown on the Seraglio...

Oh, not at all, my friend. Not at all! Perish the thought!! Either I expressed myself obscurely (quite possibly) or you misunderstood me (quite possibly as well).

It's all good, anyway: you listen to your Lanner, I'll listen to my Boulez...

Oh, absolutely. The wind blows where it wishes.

Un abrazo,

De mi tambien!

[Iota]

To Hell with dramatic depth and convincing stories! We're talking about music, not philosophy! I'd rather listen to Rossini's three-minute Laundry List Aria (alas! he never wrote it...) than to any four-hour pseudo-philosophical musical drama!

Well Mozart himself wrote to his father ..

"I would say that in an opera the poetry must be altogether the obedient daughter of the music. Why are Italian comic operas popular everywhere – in spite of the miserable libretti? ... Because the music reigns supreme, and when one listens to it all else is forgotten. "

 .. and I agree (as I imagine you probably would). But some of the great power of Mozart's later operatic masterpieces lies imo, in the expressive heights to which the portrayal of human emotion is taken, giving the characters psychological and emotional depth not found in the earlier ones. It's nothing to do with philosophy, it's about something essentially emotional, not intellectual.

I've noted the Kripps recommendation, thank you.

[JBS]

Well Mozart himself wrote to his father ..

"I would say that in an opera the poetry must be altogether the obedient daughter of the music. Why are Italian comic operas popular everywhere – in spite of the miserable libretti? ... Because the music reigns supreme, and when one listens to it all else is forgotten. "

 .. and I agree (as I imagine you probably would). But some of the great power of Mozart's later operatic masterpieces lies imo, in the expressive heights to which the portrayal of human emotion is taken, giving the characters psychological and emotional depth not found in the earlier ones. It's nothing to do with philosophy, it's about something essentially emotional, not intellectual.

I've noted the Kripps recommendation, thank you.

Part of it might lie in the genres to which the operas belong. La Clemenza di Tito is among Mozart's last works; Idomeneo was a mere five years before the first of the DaPonte operas; yet they are far less popular. Both are opera seria, subject to the forms and conventions of that genre in the way that the DaPonte operas are not. There is also the fact that the DaPonte operas are explicitly comedies, or have substantial comic elements (Don Giovanni), as are TAFTS and Magic Flute.  All that (plus DaPonte's ability as librettist) allowed for greater attention to emotion and psychology.

[Que]

Seriously now, DEADS is an absolutely charming opera. My favorite version is this:

I've noted the Kripps recommendation, thank you.

Another vote for the Krips! 

[Tsaraslondon]

I've never been a fan of this opera, but got this for £2 + £4.50 postage from Discogs and I must say I'm rather enjoying it. I only knew it from a live Solti recording from Covent Garden and it just seemed overloud, but Sawallisch finds so much more lyricism in the score . I'm now tempted by his Elektra, which I can purchase for £4.95 + £4.50 postage.

[Wendell_E]

Seriously now, DEADS is an absolutely charming opera.

It's an unfortunate acronym, but I fear I'll always think of it in the future. 

Tsaraslondon: Give in to the temptation and get that Sawallisch Elektra!

[ritter]

I've never been a fan of this opera, but got this for £2 + £4.50 postage from Discogs and I must say I'm rather enjoying it. I only knew it from a live Solti recording from Covent Garden and it just seemed overloud, but Sawallisch finds so much more lyricism in the score . I'm now tempted by his Elektra, which I can purchase for £4.95 + £4.50 postage.

I just got Sawallisch recording of FroSch and Elektra in the Warner complete opera box dedicated to the conductor. Still have to listen to both (although I must admit I've never enjoyed the singing of Eva Marton, so will be approaching her portrayal of Elektra with some trepidation).

[Tsaraslondon]

I just got Sawallisch recording of FroSch and Elektra in the Warner complete opera box dedicated to the conductor. Still have to listen to both (although I must admit I've never enjoyed the singing of Eva Marton, so will be approaching her portrayal of Elektra with some trepidation).

Nor I, but Ralph Moore gives her a thumbs up in his Elektra Survey so, for the price, I'm willing to give it a try.