Author: Ralph P. Locke

Ralph P. Locke is a professor emeritus of musicology at the University of Rochester’s Eastman School of Music. He is the founding editor of Eastman Studies in Music, a book series published by the University of Rochester Press. His writings include Musical Exoticism: Images and Reflections (2009) and Music and the Exotic from the Renaissance to Mozart (2015), his most recent (both Cambridge University Press). The first is now available in paperback, and the second soon will be (and is also available as an e-book). His essays and reviews can be read in American Record Guide and at OperaToday and MusicologyNow. His previous pieces for New York Arts were on slavery in Mozart’s operas and on a 3-CD set of surprisingly inventive works by Marie Jaëll, a major composer and pianist closely associated with both Saint-Saëns and Liszt. Six of his articles have won the ASCAP-Deems Taylor Award for excellence in writing about music.

WAGNER: Lohengrin under Rudolf Kempe from Bayreuth, 1967

November 5, 2018November 5, 2018Ralph P. Locke

The names of Belfast-born soprano Heather Harper and Kansas-born tenor James King may not resonate for younger music lovers, but they sure do for folks my age. Harper was the glowing, nimble soprano in Colin Davis’s renowned 1966 recording of Handel’s Messiah and in Davis’s top-flight recording (ca. 1978) of Britten’s Peter Grimes, featuring Jon Vickers. James King was a steady, sturdy singer, though less magical in sound than Harper. Among his memorable recordings are Das Lied von der Erde (with Fischer-Dieskau, Bernstein conducting) and Solti’s Ring Cycle (in which he sang Siegmund to Régine Crespin’s utterly lovable Sieglinde).

The Devil, Greed, War, and Simple Goodness: Ostrčil’s Jack’s Kingdom (1934)

August 26, 2018August 26, 2018Ralph P. Locke

Otakar Ostrčil was a prominent Czech composer who has fallen into obscurity. His dates, 1879-1935, span a key moment in the history of Central Europe, for it was in 1918 that the Czech lands became part of the new country of Czechoslovakia, independent of Austrian rule. In the preceding decades, Czech writers and artists had often attempted to define a national identity for themselves, as can be heard in many works of Smetana and Dvořák.

LACI BOLDEMANN’S SVART ÄR VITT SA KEJSARN (BLACK IS WHITE, SAID THE EMPEROR): A FAMILY-FRIENDLY FABLE FROM SWEDEN (1965)

August 25, 2018August 26, 2018Ralph P. Locke

We normally think of operas as being serious or comical. But a number of operas—some familiar, others forgotten—are neither of these. Instead, they are fantastical, dealing with such things as the fairy world and sorcerers, or with the world of dreams. One of the best such works is Ravel’s L’enfant et les sortilèges(which might be freely translated as “The Boy Who Meets Objects and Creatures that Magically Begin to Speak and Dance”), which has recently been blessed by two astounding new recordings (conducted by, respectively, Stéphane Denève and Mikko Franck).At the present site I have recently reviewed a very engaging Czech opera by Otakar Ostrčil, based on a quasi-folktale by Tolstoy, in which the Devil seeks to seduce three brothers into serving his own destructive ends.

A Flood of Unfamiliar Operas by Rossini, Saint-Saëns, and Others, Now on CD

March 1, 2018March 6, 2018Ralph P. Locke

Over the past year or so (2017), an unusually large number of fascinating and rarely performed operas were made available, mostly for the first time ever, on CD.

NewYorkArts/Berkshire Review for the Arts has asked me to share some of my delighted discoveries from this flood of new arrivals, as well as—in separate articles—my (rather lengthy and detailed!) reviews of two contrasting operas that seem to me particularly worthy of discovery:

A Master Already at 23: Vincenzo Bellini’s Adelson e Salvini, Now Superbly Recorded

March 1, 2018March 6, 2018Ralph P. Locke

This past year, I was privileged to get to review a flood of wonderful CD releases of little-known operas. I summarize my impressions of fifteen of these in a separate article here. But I feel that two of these unfamiliar works deserve special discussion because the quality of the music—and its dramatic applicability—so surprised me: the recent adaptation of the beloved novel Jane Eyre, by a composer I had never heard of, John Joubert; and, the work discussed below: Bellini’s first opera, composed during his last year as a conservatory student and already showing remarkable mastery.

Indeed, there were not one but two big discoveries for me in this CD recording: Bellini’s first opera (here receiving its first fully adequate recording) but also and Enea Scala (seen at left in the photo above), a splendid, heroic high tenor who can perform the extensive coloratura fluently.

A Brilliant, Touching Adaptation: John Joubert’s Opera Jane Eyre, Finally (and Finely) Performed and Recorded

March 1, 2018March 6, 2018Ralph P. Locke

I had never heard a note by John Joubert (1927- ) before. Critics have often praised his works for organ and for chorus. Several of his hymns and carols are widely known. Joubert, I have now learned, was born in South Africa but received his training in England and has made his long and continuing career there, mainly in Birmingham. (His last name comes from a French Huguenot ancestor.)

Two Superb New Recordings of a Ravel Operatic Masterpiece: 1. Stéphanie d’Oustrac Singing L’heure espagnole (with an alert Shéhérazade as bonus) 2. L’heure espagnole, with the magnificent Gaëlle Arquez

February 4, 2018February 17, 2018Ralph P. Locke

The two works on this CD make an apt and welcome pair. First we have Ravel’s sumptuous three-song cycle about the mysteries of love and fantasies of exotic lands. Then we have his one-act opera that takes place in a land that, to French people at the time, was beckoningly exotic, and whose title might be freely translated “The Nutty and Delightful Things That Can Happen in Spain in Just One Hour.” The opera presents some quick-moving events in the lives of a clockmaker’s wife and the four wildly different men with whom she is variously involved (one being her husband). The CD is officially vol. 4 of a series covering Ravel’s “orchestral works,” a phrase that here clearly means “works with orchestra.” (The two piano concertos and Tzigane are presumably scheduled for some future volume.) The Stuttgart orchestra plays very capably throughout, but the star of the CD is mezzo-soprano Stéphanie d’Oustrac.

Two New Releases of Lohengrin, part 1: Knappertsbusch’s Only Recorded Lohengrin, Available for the First Time

December 12, 2017December 18, 2017Ralph P. Locke

Hans Knappertsbusch was one of the most renowned Wagner conductors who ever lived. His recordings of Parsifal, especially, are near-legendary among confirmed Wagnerians. It was thus with some excitement that I opened a new 3-CD set from Orfeo, consisting of the first release ever of any performance of Lohengrin conducted by the conductor sometimes known among musicians and opera-goers as “Kna.”