There have been dozens of capable, and more than capable, recordings of Lohengrin. Among the most-often praised are the Sawallisch/Bayreuth (1962), Kempe (1963), Solti (1985), and Abbado (1991). Recording a major Wagner opera involves heavy costs that a record company may be unable to recoup. Hence the appeal of recording a concert performance. This CD set was edited from two such performances in Amsterdam’s famed Concertgebouw (literally: “concert building”) on December 18 and 20, 2015. The performance was semi-staged, i.e., done without costumes and sets. Some evocative lighting was employed. Characters made entrances and exits through various doors, and characters and (I gather) brass players appeared on balconies.
Articles by Ralph 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.”
Back in the LP days, if a singer wanted to show some sophistication, s/he sometimes put out an album of songs by famous composers set to the poems of one poet: for example, Phyllis Curtin’s much-admired 1964 disc of Debussy and Fauré songs to poems by Verlaine, with pianist Ryan Edwards (available now as a CD from VAI).
Medea in Corinto (Medea in Corinth, 1813 and much revised over the course of the next ten years) was Mayr’s best-known opera and remained a repertory staple for a time even after his death. It has been revived frequently in our own day, especially in Italy, where audiences can of course follow the plot and shifting emotions without recourse to supertitles.
Music festivals often pride themselves on reviving works that, for whatever combination of reasons, have fallen out of the repertory. One important French grand opera of 1859, Herculanum, by Félicien David, got its first recording two years ago and reached the opera stage—for the first time in nearly a century—at Wexford Festival Opera this past October. Reviewers of the recording, including New York Arts contributor Ralph P. Locke, were struck by the melodic richness of the music, the keenly characterized solo roles, and the imaginative use of orchestra and chorus. Reviewers of the Wexford production were more muted, though perhaps the low-budget and curiously updated production had something to do with that. Locke, who is a professor emeritus of musicology at the Eastman School of Music, contributed an essay to the WFO’s program book that gives a sense of this fascinating work. We reprint it here with the festival’s kind permission.
Lovers of nineteenth-century music will want to know about the remarkable work of the Centre de Musique Romantique Française. The Center, founded in 2009, is run primarily by scholars from France but is located in Venice, at the Palazetto Bru Zane. It engages in research—and provides financial support—for concerts, opera performances, print publications, and numerous recordings. Many of these recordings are multiple-CD sets that come with a small hardbound book containing—in French and English—informative essays and sung texts and translations. The Center organizes these CD/book combinations into three categories: “French Opera” (11 releases so far), “[Composer] Portraits” (3 releases), and “Prix de Rome” (6 releases—compositions written by student composers at the Paris Conservatoire, such as the young Debussy). All the CD/books are produced and published by the Center itself, but Amazon.com and other record distributors tend to refer to them, instead, by the name of the firm that manufactures the book: Ediciones Singulares (El Escorial, Spain).
A most welcome contribution from Ralph P. Locke, Professor Emeritus of at the Eastman School of Music, an unpublished letter to the editor of the New York Times, directed my attention to a review and an article by Zachary Woolfe concerning recent productions he has seen in France of Mozart's Die Entführung aus dem Serail and Così fan tutte. The content of these articles will be clear enough from Professor Locke's letter and his own commentary.