Numerous early- and mid-twentieth-century German operas failed to reach our shores, or came but made little impact. Even today, several of Richard Strauss’s many highly accomplished and gratifying operas after Der Rosenkavalier and Ariadne auf Naxos remain largely unknown to most opera lovers. True, their librettos are often cumbersome, wordy, or obscure, but the works are still well worth hearing and seeing—or getting to know at home through recordings and DVDs. The there’s Erich Wolfgang Korngold, who, having traveled to Hollywood to write film scores, ended up staying here because of the rise of Nazism in Germany. Yet his operas—quite successful for a time in the German-speaking lands—somehow never caught up with him in America.
What a strange, scary, and remarkable year 2020 has been, in all our lives! The social isolation that I have carried out pretty consistently has led me to look to music even more than usual for solace, enlightenment, and pleasant distraction. I gather that many music lovers have traveled a somewhat similar path since mid-March.
My penchant for opera, and for vocal music and for the theatre generally, has led me to get to know a number of recent CD releases, many of which I have reviewed for American Record Guide or for various online magazines.
Lovers of opera, decadence, and general excess, had reason this year to rejoice. This past summer, Bard Summerscape staged, as its centerpiece, complementary to the Bard Music Festival, Das Wunder der Heliane (The Miracle of Heliane), which is possibly the single most important work by Erich Wolfgang Korngold (1897-1957). And the work has now appeared in a sumptuous new recording (reviewed here) as well as in a much-praised DVD version from the renowned Deutsche Opera (Berlin), which indeed looks wonderful in this trailer.
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).
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.
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.
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:
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.