alex
2004-04-01 22:44:25 UTC
<some snips throughout>
Lehmann, who created the role (and who Strauss was thinking of to some
degree when he *wrote* the role) didn't sing it for long.
Lehmann alludes to some of the difficulties of the role in Five OperasThe first thought was how sumptuously this is orchestrated and the
second thought was about how beautiful Behrens could sound (I suppose
this really stood out as the last time I heard/saw this work was the
Solti DvD with Marton as the Farberin).
Good Farberinnen seem to be extremely difficult to find; even Lottesecond thought was about how beautiful Behrens could sound (I suppose
this really stood out as the last time I heard/saw this work was the
Solti DvD with Marton as the Farberin).
Lehmann, who created the role (and who Strauss was thinking of to some
degree when he *wrote* the role) didn't sing it for long.
by Richard Strauss, including the wide range (some phrases written "as
though for a low contralto"--her words) as well as the highly
instrumental quality of the writing. In particular, she also mentions
a discussion she had with Strauss regarding the rather odd range
writing for soprano. Lehmann recalls,
"...[Strauss] told me that he was terribly fond of hearing a soprano
singing at a lower pitch--not a true alto, that is, but the always
somewhat strange sound of a high voice being forced to sing below its
natural register. 'Not every soprano has your unusual range,' he
added. 'And every note has to be there, even if it is being
whispered.'" (45)
Also interesting is the continuation of the book, concerning Octavian:
"On that same occasion I asked him why he had written the part of
Octavian...for a female voice. I remember how he looked at me in
utter amazement. 'Have you ever seen a man young enough to play
Octavian and at the same time experienced enough to be an accomplished
actor?' he asked. 'Where would you find someone like that? Besides,
writing for three sopranos was a challenge. I think I did the right
thing.' I rather think so myself." (45)
which certainly is interesting given the current practice (and the
discussion thereof on RMO) of engaging otherwise self-proclaimed
mezzos as Octavian.
I also dug out my copy of the Karajan dress rehearsal recording and
popped over to the library to sample parts of the 1955 Bohm recording
on Decca. Also did some reading--the chapter in Lotte Lehmann's Five
Operas by Richard Strauss and the non-tabular bits of an analysis book
by Sherrill Hahn Pantle.
Pantle is one of the few (in fact, may well be the only) analyticalpopped over to the library to sample parts of the 1955 Bohm recording
on Decca. Also did some reading--the chapter in Lotte Lehmann's Five
Operas by Richard Strauss and the non-tabular bits of an analysis book
by Sherrill Hahn Pantle.
books on the work in English; as I've read it, I've always been struck
by the fact that given the date of the book, the author (most likely)
couldn't have ever heard the work complete. The first complete
recording was Sawallisch in 1988, and I think that most all stage
productions up to then (excepting the premieres) were heavily cut.
out--unfortunately, the other I could not find, but i think it was
about something else, though still concerning FroSch.
It's definitely interesting to put the book within that
context--Pantle also mentions traditional cuts at traditional points.
I believe the analysis, regardless, is performed on the score in its
entirety and is certainly interesting to read and is rewarding, even
with my pained translation of some of the german quotations. Anybody
interested in analyzing FroSch, both on a fairly detailed theoretical
level and in a more interpretive level, would find lots of interesting
things.
If you're interested in further reading, I'd recommend tracking down
the translation of Hofmannsthal's prose scenario, which is out of
print and hard to find. There's very little literature dealing solely
with the opera--you run into it in discussions of other things. I'd
be happy to dig out more citations, if anyone is interested.
I'm always happy to read more, so I'd like to see some citations--butthe translation of Hofmannsthal's prose scenario, which is out of
print and hard to find. There's very little literature dealing solely
with the opera--you run into it in discussions of other things. I'd
be happy to dig out more citations, if anyone is interested.
I also have 0 command of the german language. I can certainly look
into finding the Hofmannsthal's prose narrative. I can't imagine that
I can't find it here. might as well abuse the library privilege I
have here until I graduate =)
Studer gives a good performance--but the launches and pushes into the
extremes of the registers can be jolting, but the basic tone quality
is quite beautiful and apt for the Empress, whom Hofmannsthal and
Strauss seemed to have gone great lengths to portray as a being of
light, crystalline solidity, and purity. The entrance music is rather
slipshod, but it's really quite difficult music, so she's forgiven.
Just curious, are you thinking of Studer in the live Solti video orextremes of the registers can be jolting, but the basic tone quality
is quite beautiful and apt for the Empress, whom Hofmannsthal and
Strauss seemed to have gone great lengths to portray as a being of
light, crystalline solidity, and purity. The entrance music is rather
slipshod, but it's really quite difficult music, so she's forgiven.
the Sawallisch studio recording? I agree with that for the Solti, but
thanks to the marvels of studios, the Sawallisch is really clean and
lovely.
definitely think that the Sawallisch will be next on my acquisition
list of FroSch media. though i might make myself a liar and get the
Steber Carnegie Hall marathon recital disc first... *sigh* while I'm
at it, I should also wish for some money so that I can attend the next
Met performance of the work...speaking of--when is that happening?
sometime next year? beyond?
Varady isn't as appropriate tonally for the Empress as Studer is, but
she more than makes up for it in a very involved and dramatically apt
reading. I'm always appreciative of her relishing of the consonants
and words. But, and this is true of Janowitz as well (though i think
Janowitz is better), the big dramatic arc isn't as compelling as the
little dramatic moments, and so the going gets a bit tough in Act III
when it comes to the Empress to carry quite a bit of this act that is
pretty static in terms of conflict and not as inspired musically (who
here likes the final quartet? because could you explain the appeal to
me please because i can't quite seem to get it).
I'll take a go; it's *C major* when you haven't had too much of thatshe more than makes up for it in a very involved and dramatically apt
reading. I'm always appreciative of her relishing of the consonants
and words. But, and this is true of Janowitz as well (though i think
Janowitz is better), the big dramatic arc isn't as compelling as the
little dramatic moments, and so the going gets a bit tough in Act III
when it comes to the Empress to carry quite a bit of this act that is
pretty static in terms of conflict and not as inspired musically (who
here likes the final quartet? because could you explain the appeal to
me please because i can't quite seem to get it).
key throughout the opera (and all of Strauss' keys sound a little
different; he thinks of them differently). It's the only time in the
opera that all four major players are together and working together.
Barak, as the grand Everyman, leads it off, Kaiser finally gets to
sing with other people (extending from the duet with Kaiserin), the
two women really come together, and the ending of it just a fabulous
triumphant noise, with the three high voices taking the High C. I
agree that the passage right after it is a little too bombastic, but
that's always redeemed for me by the fade out ending with the violin
melody rising up out of the orchestra again. One theme turns into
another so smoothly...
lacking--that and the fact that the stuff leading up to it is also
kind of forgettable. or extremely so. maybe i just need to listen to
it more. I just can't really get into it--it might be that with all
of this expectation, there's no possible way that this quartet could
be special enough. I mean, it's pleasant enough. And part of this
just may be an aspect of the recordings I've listened to. I might
have to return to the '55 Bohm for a listen to this quartet since I
didn't get a chance to last I went to the library.
However, the drawbacks to
this set, though, are pretty substantial. Karajan leaves the
realization of it rather limp, certainly not anything like Bohm's
fiery involved reading--not to mention the score is heavily
re-organized according to the notes. The men are also rather
forgettable (Thomas does get better as the opera goes along) though
the Farberin and the Nurse are both excellently sung. Also a side
note: this set probably has the best Keeper of the Temple in Lucia
Popp and Wunderlich is the Youth's voice!
The score is so heavily reorganized as to make a real dramatic hashthis set, though, are pretty substantial. Karajan leaves the
realization of it rather limp, certainly not anything like Bohm's
fiery involved reading--not to mention the score is heavily
re-organized according to the notes. The men are also rather
forgettable (Thomas does get better as the opera goes along) though
the Farberin and the Nurse are both excellently sung. Also a side
note: this set probably has the best Keeper of the Temple in Lucia
Popp and Wunderlich is the Youth's voice!
out of Act II in Karajan's version; this seems to be done to avoid
having to make 4 set changes, I think.
herself?) also makes note of the supreme difficulty in staging all of
the fantastical effects basically required by the score. It's
certainly one of the delicious if nightmarish challenges for
productions of this opera.
anyhow, to wrap this up a bit short, is that should this opera be your
cup of tea, there are definitely recordings out there full of merits.
don't discount janowitz in this role--she is amazingly effective.
Based on this recording, I wish she had pursued this more while she
still had the considerable vocal goods for it--her reading only lacks
a more dramatic conductor to give her a little nudge here and there,
she's generally fantastic, and time to grow into the role.
I will repeat my plug for the Sawallisch, made before; depite thecup of tea, there are definitely recordings out there full of merits.
don't discount janowitz in this role--she is amazingly effective.
Based on this recording, I wish she had pursued this more while she
still had the considerable vocal goods for it--her reading only lacks
a more dramatic conductor to give her a little nudge here and there,
she's generally fantastic, and time to grow into the role.
rather squally Farberin, occasionally pinched Kaiser, and slightly
nondescript Barak, I still think it makes the greatest impression for
the work as a work. The sound of the orchestration comes through
better than the Bohm because of the superior sound quality, and
Sawallisch has a comparable command of making passages that can sound
like noise really sound musical.
Great to see another FrOSch fan around here...the piano/vocal score is
now available from Dover, too!
-Nora
(Strauss Monster!)
oh, and since you are a strauss monster, positions on Ariadne I vs.
Ariadne II? Also, how is Liebe der Danae, specifically, the recording
with Lauren Flanigan? And, because I'm a training baritone--thoughts
on the "Strauss Baritone?"
-alex