Reviews Beethoven Symphonies Nos 9: Overtures“Leonore No 3: Coriolan: Egmont Elisabeth Schwarzkopt sop Marga Hotfgen 2 ErstHaefliger is» Otto Edelmann 2 Vienna ingverein; Phitharmonia Orchestra/ Herbert von Karajan Warner Oassies 8256463572354 (hes 15 = 00 Recorded 195256, Includes both the mone and stereo versions of Symphony No Symphonies Nos 19 GGundula Janowitz sop Hilde RéssLMajéen ne Gerhard Stotze on Walter Berry 2s: Vienna Singerverein: Berlin Philharmonic Orchestra Herbert von Karajan. 4793442 ADD plus Bu Ray Audio asc ‘lucay dc Includes al ne symphonies pls 8 rehearsal recording remastered at 24 bit ke Recorded 19642 “Here are Karajan’s first two complete [Beethoven eycles; the first, made with the Philharmonia Orchestra between 1953 and 1956, was produced by Walter Legge, with the balance engineer Dougias Larter. All were made in the Kingsway Hall except the Ninth: as there was no Philharmonia Chorus then, Karajan took the orchestra to the Musikvereinsaal, Vienna, and used the Vienna Singverein [for this latest reissue, stereo version of No 9 is offered alongside the mono]. ‘The names Philharmonia, Karajan and Legge made this an histori recording enterprise, but to these personalities must bbe added the fice that the LP record was then furly new, sterco was just happening. Karajan’s Beethoven, energetic, strongly shythmieal and deeply concerned with beauty of sound, was the antithesis of Furewngler's, who died while this cycle vas still incomplete. Of course, Toscanini had already instituted a highly precise, and some would say soulless, interpretative approach to Beethoven. The young Karajan was an admirer of Toscanini, He learnt fromm him that Beethoven's ane strength could emerge equally well from performances that were accurate and objective, but being an Austrian he shunned Toscanini’s rigidity and ferocity {8 GRAMOPHONE JULY 2014 ‘These Philharmonia performances represent Karajan’s first attempt to formulate his own Beethoven style —it was to bea lifetime's search, They are sll ‘magoificent-brimming with youthful vitality but fll, too, of those characteristic shafts of light turned on to Beethoven's, scoring, as for example in the joyfal account of the Pastoral Symphony in which the finale, taken slower than in the first Berlin eycle of 1962, achieves an extraordinary spisituality. In No 4, t00, the playing of the Philharmonia strings in the Adagio and ofthe principal clarinet in the Same movement is @ reminder of the standard to which Karajan had so quickly raised this new orchestra, The performances of Nos 3, 5 and 7 all have outstanding virtues. Ione stresses the shythmie vitality, especially inthe finale of No 7, and the fast tempos which came 2s something of a shock at the time but now to have anticipated by 30 years what we take on the chin from the ‘authentic’ school of conductors, that should nor detract from our pleasure in Kargjan’s lyrical and lowing treatment of the slow movements. As for the recording quality, its quite remarkable, with a range and balance that are enhanced by CD. fone wishes to make a spot-check om how Karajan’s Beethoven developed, oF changed, in a decade, the Allegreto of No 7 provides a classic example. The pulse of the ‘music is quicker than in the Philharmonia performance, the legato smoother, the tone-colour more sharply defined. There is ro doubt, in my opinion, that this 1962 Berlin Philharmonic cycle is one of the greatest Beethoven series ever committed to dise, both as orchestral performance and conductor's interpretation, and also as recording. Although thete are sublime individual passages in the 1982-5 eyele, itis not as consistently fine asthe 1962 (and this earlier cycle had the advantage of being recortled in the Jesus-Christus Kirche) Nor ean one evade the fact that, fine as the Philharmonia of the 1950s was, the Berlin Philharmonic of 1962 was its superior in every department. The refinements of its playing are too numerous to set out in decal, bur how anyone could listen to these performances and then say that Karajan was ‘bland? is beyond my comprehension. The brass playing throughout, and particulary inthe Evvce funeral march, is just wonderful. ‘The pizzicato at the start of the Eroice finale has 10 be heard to be believed ~ precise, yes, but how meaningful too. The playing of No, too, has al the grace and beauty of the Philharmonia performance, and then some, ‘The crown of both eycles isthe Ninth, with the quartet of soloists earefully chosen cach time and the same choir in both. (My preference is for the 1955 quartet, mainly Jbeeause the male singers are better.) But the Berlin performance has a certainty that comes to a conductor only rarely, and did not come again to Karajan in the 1980s, Michael Kennedy 5/1990 Beethoven - R Strauss Beethoven Sympnony No Strauss Ein Heldenleben Bertin Phitharmonic Orchestra Herbert von Karajan Testament © $871420 (80 ADD) Recorded ve at the Royal Festival Hal, London in Apt 1985 For this particular reviewer few orchestral concerts have remained so vividly in the memory asthe one given by Karajan’s incomparable Berlin Philharmonic in London's Royal Festival Hall in April 1985, The surprises began with the conductor's ‘own physical frailty. Edging unsteadily towards the rostrum and propping himself ‘up agains the railing, he adopted the peculiar posture that enabled him to remain “upright and in command notwithstanding a debilitating spinal condition, In truth the Beethoven was and i a gift to his many detractors. With the maestro unvilling or ‘unable to lif is arms, the band turns in its patented imitation of a gramophone record, Surfaces are immaculate but its like being ‘rapped in a pudding without air in the texture, Phrases, even whole sections glide by with no intake of breath and the frst two ‘movements in particular may induce feelings of claustrophobia in younger listeners, They should persevere. No superlatives can convey the inevitability, conviction and sweep of Karajan’s Heldenlebon which makes even this notoriously shrill-sounding venue resound in glory. The original BBC sound team of producer Misha Donat and balance engineer John McCulloch eapture a paradoxical sonority, rich yet transparent, “Tambent in its beauty, never laying oF‘opaque’ as described by Richard Osborne in his characteristically generous book notes. The battle scene may be slow but was it ever more incisively chronicled? avid Gutman srs 20% Beethoven - Brahms ‘Beethoven Triple Concerto? ‘Brahms Double Concerto? °Svlatoslav Richter David Oistrakh \n Mstislay Rostropovich *BerlinPilharmonic Orchestra Herbert von Karajan "Cleveland Orchestra/ George ze EatWarner Casis 1 678705°2(00'- ADD) Recorded "1970 and "1969 Even in these days of| star-studded easting on record, the line-up for this acest version of the Triple Concerto is nothing shore of breathtaking. So breathtaking I was worried that my expectations would run ahead of all possible achievement, But not so. This is 2 mareellous performance that will clearly remain a classic or years to come, Not that in every respect it outshines that other spectacular line-up of Isae Stern, Leonard Rose and Eugene Istomin (CBS), which similarly provides a strong, big-seale performance with no apology for what are usually counted as Beethoven's miscaleulations. Ormandy’s tuts are if anything even more sharply dramatic than Karajan’, and the EMI recording, generally ‘warm and faithful, does tend to get congested when the scoring isa its fullest Bur where in the CBS dise iis Stern, the violinist, who plainly leads the ensemble (his pointing of the polonaise episode inthe Finale is magical), here it strikes me thatthe cellist, Rostropovich, leads the way. That is not to say that he controls his older and ‘equi celebrated compatriots, but that the pparmership follows Beethoven's own order ‘of priorities It's the celise who has the privilege of introducing each fresh theme, and his colleagues who follow, and here Rostropovich’s creative imagination in phrasing each time is wonderfully matched by Oistrakh and Richter. Unlike the CBS record with its soloists placed very close, this one allows the full delicacy of the playing to be appreciated, asin Rostropovich’s hushed, tender account of the opening melody’ ofthe brief slow movement. The difficult triplet passages in the finale may be even more spectacularly done by the American trio, but on balance this i an even more remarkable performance than that one, sramophonecouk Oistrakh and Rostropovich also collaborate in an exceptionally rich performance of the Brahms Double Concerto recorded with Szell in Cleveland, The Beethoven collaboration with Karajan produces even warmer ‘musicmaking, and Richter, whom T had feared might have one of his spells of reticence when faced with so simple a pare audds not only his characteristic poetry but 1 taut sharp-edged quality in many of the ‘octave passages. Iris a pity about the recording of the tuttis (its along time since EMI engineers recorded this orchestra, I imagine) but I cannot think that many will ind it much of a hindrance to their enjoyment in a work that almost always emerges stronger on record than in the concert hal, In any ease when if ever will we hear in a live account a trio of players as distinguished as this? award Greenfield Seotembor 1970 Bizet armen Leontyne Pi) nn nes CAFEN Franco Corelli Don Jose Robert Merl ——Escamilo Mita Frenne Miciela Monique Linva Sopa Frasuita Genevidve Macau r=? Mercédes Jean Christophe Benot iy. —--Dacalro Maurice Besancon (—-Remendado FrankSchooten i -uniga BenaraDemigny Morales Vienna Boys Choir Vienna State Opera Chorus, ‘vena Philharmonic Orchestra J Herbert von Karajan RAH 89697573672. ar + ADD) Recorded 1954 When this set first appeared it was somewhat ‘overshadowed by the Callas Carmen, which came out at almost the same time, Now, heard on its own, it seems to me a highly desirable version of the old favourite. The old Culshaw/ Karajan magic is all-powerful; there is certainly no more beautifully recorded of played version in the catalogue. Indeed, I would goas far as to say that itis quite on 4 par as a recording with the same team's Ala and the Culshaw/Solti Ring, the lawer recorded, as was this Carmen, in Vienna's Sofiensaal. The effects, such as the visitors to Lilias Pastia and the crowd at the beginning of Act 4, give a true illusion of a performance and the spaciousness of the sound has not been equalled, let alone surpassed, since this set was made. KARAJAN SPECIAL EDITION Turning to the interpretation, [have a few but not many’ reservations. In his original review, Philip Hope-Wallace was seriously troubled by Karajan’ slow speeds The José/Miciela duet and the Toreador’s song are certainly much more leisurely than usual but otherwise Idd not find the tempi unduly lethargic, and the playing ofthe Vienna Philharmonic is in a class ofits own in recorded Carmens. Strangely enough, I preferred Price’s Carmen, a roe she has not sung on stage, to her Aida, The timbre seems absolutely right here and one or two aggerations apart (PH-W rightly and deprecatingly referred to the ‘cheeky gel” tone she adopts now and again), hers sa very convincing portrayal, although not reaching the immediacy and commitment ‘of Callas. On the other hand, Price does not c any ofthe ugly sounds of her senior. José must he his best recorded ere isa heroic, tragic ‘quality to his interpretation that lets one forget and forgive some vagueness about note values and his doubtful French, His ‘outburst at the end of Act 3, ‘Ah! je te tien, fille damnée’ is quit thrilling in a way more lyrical Josés eannot manage, and he sounds really desperate in the final, fatal encounter swith Carmen, Merril has the voice, as few have, todo justice to Escamillo's musi, and Freni is simply the most affecting and fall-throated “Micica of the day: her aria, sensuously accompanied, is one of the most rewarding part ofthe set. The smaller roles, taken by ‘more than adequate French singers, naturally sound at times more idiomatic in timbre than the principals. The chorus is splendid, Those who are attached to the Beecham/ Los Angeles or to the Callas may not be incerested inthis reissue; nor may those ‘who have recently acquired the Bumbry version, Newcomers who are looking for an ‘exciting simulation ofa stage performance, and voeal and instrumental sound of peculiar richness and warmth, may like to sample this set before making up their minds, Alan Byth November 57 Brahms - Schumann Brahms syriphony Not ‘Schumann Symphony Not Bern Phiharmonic Orchestra /Herbert von Karajan DG The Originals ® 447 408-206 ADD) Recorded 1968 & 1972 The frst of Karsjan's three Berlin Brahms cycles was, by general consent, his fines for GRAMOPHONE JULY 2016 8KARAJAN SPECIAL EDITION DG. Which was his finest ‘phase’ in general, only time will ell, Few would deny that this C minor Symphony has a‘haleyon days? feel. I's certainly present inthe frst ‘wo movements, the drive established in the main Adegro of the frst (no repeat) allowing Karajan to relax for the second theme without lose of purpose. The second movement, ideally mobile, evolves freely and seamlessly, with masterflly graded wide dynamic contrasts felt rather than fashioned, ‘This orchestra's tone production is even, rich and rounded, So far, so good. In the third movement bar-by-bar dynamic contrasts are smoothed out, with the route to the Trio's climax taken as one very gradual erescendo. The finale's daybreak? fs broad and awe-inspiring, Karajan here has gauged tempo, dynamics and accentuation so the strings can articulate without strains al very impressive, but his Allegr’s progress is thus relatively short om attack, energy and the ability to fly, “The more you hear Karajan’s Schumann First Symphony, the more convinced you may be that it's spring cultivated and monitored under laboratory conditions, “The most unsettling of those conditions is an effect common toa number of his 1970 DG Berlin recordings, namely, for a fasly closely balanced orchestra (particularly the strings, which aren’ entirely glre-free), as dynamic levels drop, to walk off several paces into a glowing Berlin sunset. This also exaggerates the conductor's own contrasts, neither exactly redolent of the vitality and freshness of spring: the resolutely robust and measured delivery of the rustic forte, and the carefully crafted confection of his dole piano Jonathan Swain jy 1295 Bruckner Symphony No (ed iaas) Vienna Pitharmonic Orchestra / Herbert won Karajan 16 © 4290372 66-000) Recorded 989 “His last recording’, the cover of the record dlscreedy informs us in small printin four languages. Iti, I suppose, an ‘unexceptionable statement in the circumstances, though it would have been ‘equally valid and perhaps more germane to have said instead: "His third recording. For this is indeed Karajan’ third studio recorting of the Seventh Symphony and, 10 GRAMOPHONE JULY 2018 like the 1975 Berlin account on DG, it takes an altogether livelier view ofthe first ‘movement than was the casein the 1970-71 FMI Berlin recording where a kind of inspired somnambulism was the order of the day. Indeed, ifelegies are thought to be in order the mid-price FMI performance is still the one to go for. From the engineering point of view the new recording is the most vivid of the three-it makes the FMI sound now s very distant and rather opaque in the lower frequencies ~ though this does not ‘mean tha i is always as consistently detailed as the 1975 recording. The Viennese woodwinds ean lapse into pale-toned reticence at times, and something like the cymbal clash at he climax of the sow movement now sounds auite incident Last recording or not, Karajan’s grasp of the work iss complete as ever without being as self-conscious as his frst recording fr as obviously masterful as his second, ‘There is plenty of vitality in the readings indeed, the seherzo and finale ha roguish coarseness about them in places, with none of Blomstede’s rhetorical lingering in the symphony’s coda (Denon/ al Segno). Karajan’s ability to levitate the phrasing (Cardus’s phrase) in the Adagio’s glorious second subject remains second to ‘hone and his control of transitions and. codas still eombines spaciousness and contro in remarkable measure Itis, as say, a rather differentkind of ‘musical experience from either of ts predecessors. Perhaps this does have something to do with Karsjan’s sense that hhe might have been recording the work for the las time; i is certainly possible to imagine here an added spaciousness not in the rhythm but inthe phrasing, the phrases ‘more urgently attacked and more reluctantly released lke a thousand acts of affectionate hal and farewell. Bu this, I suspect, has something to do with the fact thatthe orchestra isthe Vienna Philharmonie, an orehesta, lke the Philharmonia in the 1950s, thats wonderfully at one with Karajan withoutin any sense being his private creature, Occasionally the chording isa shade ragged bbut most of the playing is glorious. The strings ean sound and phrase the musie with a flexibility and passion that pats one in ‘mind of the Quarterto Italiano playing late Schubert. In the end, itis not perhaps as great a performance asthe recent account ff the Eighth Symphony from Karajan and the VPO (eeviewed below) but the overall effect is more immediate, more down-to- carth, more musically various than was the case with the two Berlin recordings, a the expense, it must be said, of the astonishing line and surety of the later Berlin account. Richard Osborne 1990 Bruckner, Symphony No 8(ed Haas) Vienna Phiharmonic Orchestra Herbert von Karajan 16 © 4790528 or @ 476 1654 3-000) Recorded 1988. As ifby some strange act of providence, great conductors have often been the immediate posthumous release of some fine and representative recording, With Beecham it was Strauss in Heldenleben, with Bruno Walter it was ‘Mahler's Ninth Symphony, and with 1rajan it isthe Fighth Symphony of Bruckner, perhaps the symphony he loved and revered above all others. Iti also, happily, an exclusively Austrian affair the music of the country’s finest symmphonist played by their finest orchestra under Bruckner’ finest Austrian-bom interpreter. Karajan has recorded the symphony twice before, of course. Indeed, there are some collectors who sill swear by his 1957 EMI Berlin recording, the grandest, gauntest, and slowest ofthe three, though T suppose the 1975 Berlin DG one has for some time ben the representative library version, aheael of al rivals exeept the entlier of ‘Wane! recordings (RCA) which offers very much a complementary view of the work, leaner and generally quicker ‘As many collectors are bound to want tw know how the new Viennese version ‘compares with the 1975 Berlin account, began with some blind tastings. In the Scherao the Berlin version emerged 2s the ‘auter of the two, more vivid, and more jocund; bur the new Viennese account of the fist movement turns the tables and its plainer Scherzo, very powerful in its furthest reaches, i its proper sequel. Thereafter, spare from some sampling of the Berlin performance, [allowed the Vienna one to speak for itself, unimpeded by eross- reference. And a wonderful reading itis, 3, authoritative a its predecessors and every bic as well played but somehow more profound, more humane, more lovable if thats a permissible aeribute of an interpretation of this Everest among symphonies, When Karajan and the Vienna Philharmonic took the performance to New York earlier this year, Andrew Porter wrote in the New Yorkers ‘one had the sense ~ conveyed by the crack orchestras that remembered b sramoptanecouknever get a note wrong ~ that the players "were not so much obeidient virtuoso servants ‘of che conduetor’s wil, as, toa man, sharers, collaborators in an interpretation’. Which is ry earlier point, put another way. For itis the sense of the musie heing in the hearts and minds and collective unconscious of Karsjan and everyone of the hundred and more players that gives this performance its particular charisma and appeal Fortunately, ica been recorded with plenty of weight and space and warmth and clarity; and the sessions were obsiously sufficiently happy for there to shine through moments of spontaneous power and eloquence that were commonplace in the concert hal in Karaja’s later years, but which recordings can't always be relied upon to exte, Collectors with the earlier DG set, which also includes a performance of Wagner's ‘Siegfried Lill, will probably rese content in as much asthe interpretation hasn't significantly altered. Bur new collectors should star withthe Vienna recording which has the benef ofthe added vibrancy and warmth of the Viennese playing. The and end ofthe work, alvays astonishin uplifting, is especially fine here ans circumstances, very moving. Indeed, in such a context i is dificult to forget Bunyan: 'So hhe passed over, and all the trumpets sounded for him on the other side,’ For Bruckner, and for Karajan, may they long ‘on soil chard Osborne ico 28 Debussy + Mussorgsky + Ravel Debussy (a mer Mussorgsky Corch Raved Picturesat an Extbtion Ravel Bolo Bern Phihatmoni Orchestra Herbert von 16 The Originals 447 4262G0R 05'= ADD) Recorded 1954.66 @.=—| Here are examples of “The Karajan Effect’ at B its most positive, and sounding, in these new transfers, fractionally more open, focused and fresh than before, with the billowing ‘bass moderated and the dynamic range extended. Along with Karsan’s own imaginative deployment of orchestral colour (to take one example: the extra gong with barely damped striker atthe end of Pictures, the Berlin Jesus-Christus Kirche acoustics of these 1964-6 recordings add their own wonderfal coloration and KARAJAN SPECIAL EDITION, atmosphere (dark and cavernous at appropriate moments in Picture). The 1980s Berlin Philharmonic DG remakes Gin its remastered ‘Karajan Gold’ format) offer something close to concert-hal realty @ cleaner more neutral sound) but, on the whole, che imaginative daring and the excited discovery of new realms of creative and technical possiblity are missing; certainly the 1980s performances are less given to spontaneous ignition For those unfamiliar with these 1960 accounts, Bali is slow and steady (but Karajan risks loating the early solos), and Pictures is broader and grander than Karajan’s previous and subsequent recordings (and most others). But how does ‘one do justice to this La mein single sentence? Well, you can either be seduced by some of the most sheerly beautiful ‘orchestral sound ever recorded, or ppreciae i for its wide-ranging imagery and its properly mobile pacing; but whichever way you look ati, itis one of the great recorded La mers and one of the classics of the gramophone. Jonathan Swain December 5 Debussy + Ravel Debussy La mer Prelude aiaprés nid an foun Ravel apis et Coe. lero” GRAMOPHONE JULY 2014KARAJAN SPECIAL EDITION Bern Phiharmonic Orchestra) Herbert von Karajan DG 477 7161.63 ADD) Recorded 964 6966 Gone are the days when the great macstri had theie national specialities ~ Walter his Mahler, Furtwingler his Reger, Beecham his Delis, and Toscanini his sometimes impossible Ialians. Today, Herbert von Karajan is one up on allthis. Eaqually at home in musical Vienna, Berlin, Milan and London too (think of his Planet), he has never concealed his passion for French music. Hs centenary Pellas in Vienna was indeed labour of love. Ie was incvitable that he should record some Debussy and Ravel, and on the showing of this dsc, his interpretations are impossible to fale. A detiled comparison ofthis Daphnie Second Suite with the L] others currendly available, of this La mer with the other nine, ‘or ofthis Faune with the 14 alternatives is pointless, for this is the only dse offering precisely these three supreme and most frequently performed masterpieces of French orchestral musi. Given the bland «quality of the Berlin wind ~ the oboe is the mildest imaginable ~ these ae fabulous performances, Controlled and arstocritic, they show a scrupulous regard forthe ‘composer's wishes. Thus inthe ‘Lever du Jour’ Ravel's ndscape, not Debussy’s ‘eascape), Karsan is properly concerned with propelling the rising tune (atthe ‘composers exact metronome marking) towards its blazing climax. Ar this pace, the ddemisemiquaver filigree must be fiendish to play, bur whether oF no every note isthe the arabesque fll inco perfect place as a murmuring background. Similarly every nuance is observed in the succeeding ‘Pancomime’ In the final Danse, Karajan ‘compensates with the sharpness of his Accents the Berlin orchestra's characteristic lack of tonal asringence, so that there is never any lack of necessary definition, Here and in the Fane his ist flute, Karlheinz Zaller, pays like a wizard. La mer, too, calm ‘or tempestuous sas superbly delineated as Hokusais ‘Wave’. The recording, ike the performance, i of the highest quay. Fel Aprahamian arch 1265 Debussy Peiléas et Malsande 12 GRAMOPHONE JULY 2014 Ruggero almonds — nanan el Nadine Deniz om Gove ‘Cistine Barbu 9p a Pascal Tomas =... Doctor Shepherd ‘Chorusand Orchestra the Deutsche Oper, Bern: Bertin Phitharmonic Orchestra/ Herbert von Karajan Warner Classics @ © 6672327 2h 42-00) Recorded 1978 Awork ‘without tension’ with ‘restrained and calm’ susie: so Polléas er _Mélisnde is deseribed in Westerman’ (Opera Guide. Karajan clearly hadn't read thae bit: equally clearly, Westerman hada’ hheard Karajan’s conception of the opera, which scoms the understatement customary in most performances of it. Here the work seethes with barely suppressed tensions ‘which constantly erupt in passionate outbursts: again and again the orchestra boils over in an ecstasy which can scarcely be contained by the sound engineers, who at the other end of the dynamic seale have t cope with pamisimas that can hardly have caused a flicker ofthe needles. Many of che orchestral climaxes go far heyond Debussy’s markings (the interlude after the scene with Melisande in the rower is but one example: on the other hand, without previous warning one might easly miss the distant eres of che sailors on the passing ship almost completely. I Thave started by considering the orchestral sound, ths is not only because in this uniquely suble score the orchestra provides the continuity forthe singers’ ‘quasi-reciative but because itis patently Karajan's chief concern. Purely as sound, it is often ravishing, with a rich, lowing. warmth; but even without the necessity of ‘comparing it withthe clean-cut quality of Boulez’s recorded performance one is) immediately aware of the patina which covers it, Though this veiled colour may heighten the atmosphere ofthe gloomy, mysterious forest of Act 1, italso greatly reduces the clarity of articulation of such rhythmic figures as at che mentions of Malisande’s los erown (a detail never explained in the libretto) or of Golaud’s hunting expedition; and Pellé’s line ‘On dirait que la brume s'éleve lentement’ seems an unexpectedly apt observation, Relative levels of voices and orchestra are rather variable, with Genevigve's reading of the letter too fant (because of backward placing) to be easily followed, and “Maiisande’s words lost in Act 1 scene 3; but by Act’ a better perspective has been ‘established, in Act 4 Péllea is balanced much nearer the mierophone, and at his ‘emergence from the vaults into the fresh air he is unduly loud. (Full marks to the producer incidentally, for the very ‘convincing change of acoustic in the scenes ‘of Pelléas and Mélisande in the grotto and Pelléas and Golaud in the vauls,) Could the dead silence before Mélisande's quiet ‘Je aime aussi’ ~a moment whose impact is the more overwhelming by its very restraint bea tape-join? ‘The easting is mostly excellent. Frederica von Stade well conveys Mélisande's wide= ‘eed innocence and simplicity by her purity ‘ofvoice and lightness of tone, and makes ‘credible the transition from the startled _gwzelle of the opening to the awakening ‘woman of Act. As the unhappy Golaud, unable to comprehend the delicate ereatare he had chanced upon, and consumed by a jealous fury he himself half-realises is unwarranted, José van Dam gives distinguished performance, alike in the heavily charged calmer moments and in his self-tormenting rages. I found it impossible sounding Peléas with his singing in Dide~ the only previous time Thad heaed him ~ when [vas obliged to ertcise hath his tone and his intonation: here, a8 boriton-martin absolutely suite to the role, he iin his clement, and handles the awkward tessitura with assorane, freshness and an ‘engaging youthfulness, The rapturous ‘quality ofthe two love-scenes~ the tumbling down of Melisnde’s hae, and the final declaration ~is ardently portrayed. "There ian effective and unaffetely clilike Yaiold from Christine Barbaus, an acceptable Genevieve (nota rewarding part) and an Arkel whose characteris not ‘very well defined and whose voice is Alifcueto distinguish fom that of Pascal “Thomas the doctor inthe death seen. It is noticeable that though the declamation houighout is very natural and fluent, is ‘often ~ particularly in the case of Arkel ~ less than exact othe text, resulting in small inmprecisions of ensemble with the orchestra, whereas Debussy’ notation of the speech-ehythnns isin fct so superbly managed that it ean (and should) be scrupulously followed and sil sound free. Inshore, this isa very characteristially Kargjan performance, deeply committed and full of beautifal if contentious tings decidedly unorthodox 3 an interpretation To ply it side by side with the Boules recording on CBS is to unleash heated, lengthy and probably inconclusive discussion about the true nature of Debuasy’s masterpiece. one Sater Seb 170 sramoptanecoukKARAJAN SPECIAL EDITION Dvofak - Tchaikovsky Dvotak Celo Concerto Tchaikovsky Variations ‘ona Recoco Ntisla Rostropovich Bertin Pitharmeonic ‘Orchestra / Herbert von Karajan 1G 447 4132060» D00) Recorded 1968. The obvious question new recording of Rostropovich in the Dvofik Cello Concerto when there is already such a fine one available. Firsty, that version is already over ten years old, almost unbelievable as that may seem, Secondly, while the older disc had nothing else on it, we are now also given a work of very considerable length as wel. But there is more to it than that and two aspects of the new performance stick outa mile, One, the influence of the conductor on the soloist; the other ~ but that can’t be putin a sentence and I shall come to it in a moment Any of us who talk abour music wil know how often we are askedwwho wins ina ‘concert, the soloist or the conductor? ‘There isno straight answer, of course, for it depends on who the soloist and conductor are. If for example, [were asked to conduct for Rostropovich, the amount of my influence would likely be negligible: and 1 ‘would certainly be stupid to take a strong line against his. On the other hand, if1 get some young thing who has hardly, if ever, played the concerto before, can reasonably suggest this or that, I's a matter of who has the greater experience ‘The interesting thing here is how much Rostropovich responds to such entirely ‘experienced, but very different, conductors as Boule and Karajan, Basieally isthe same, highly romantic reading, of course; but where Boul, who isa no ess sympathetic accompanist, pulls things together atthe tuts (yet without inthe least disrupting his soloists interpretation), Karajan continues the indulgence. I's difficule to blame him when the Berlin Philharmonie sounds as gorgeous a it docs here! Nevertheless, Rostropovich with Boule is ess inlined to dally ‘But chere is more o ethan that. Rostropovich always plays concertos as ‘chamber musi; that isto say, he i always totally involved, not jst with himself and the music, but with everything thats going ‘on in the orchestra, co the extent that he is aware that whatever else is happening may bbe more important than what he has to play; and as anyone who has seen him on. the platform knows, he positively 14 GRAMOPHONE JULY 2014 ‘encourages orchestral players to be the soloist for the moment, rather than himself. When I say that Ihave never heard ‘woodwind solos in the Dvofik as hear them on this record, you may groan and say = there he is, going on about the woodwind again, when surely they can be adequately heard on a good many records by now. Yes, but not like this; and the result is a revelation, Ir doesn't seem due to bolstering up by artificial means, though doubtless DG’ technicians must have eredit for appreciating what is wanted yet solos never sound brought to the fore in a manner that isl too familiar from some other sources. Ieis just that Rostropovich ean play more ‘quietly than any cellist E know; and that he isintene on projecting the work asa musical entity, nots for himself with orchestral accompaniment: Take only one outstanding instance (apart from the many times when all one usually hears isthe soloist busy with his arpeggios, while a wind inserument more or less gets his tune heard). Those who love this adorable work will know what T mean when I refer to those passages in the slow movement where the cello has filling phrases against a woodwind melody = you will know it because they are so exquisitely beautiful. Bu for those who want to refer toa seare the firs time i at har $0, the second at 76; and I shall refer to the second since the wind melody is ona single oboe. Rostropovich here makes the oboist the concerto soloist, with his own line, ‘exquisitely played, as a lesser counter melody. (One can see him, in performance, turning inwards and conveying ‘all yours; annd I shall add to the beauty of your playing’) And i's an interesting point that though both lines are here marked p,on the earlier occasion the soloist has pp against the woodwinds! p, Lean hardly tell you how lovely itis to hear woodwind tunes played ‘easily, clearly and audibly throughout this ‘concerto by a composer to whom the woodwind meant so much, Tmade alot of notes but I've diverged from them and am now lost! Oh yes; the “Tehaikovsky variations show a range of playing thats litle short of miraculous, But ‘even ifyou think the Dvoksk too romantic — and Tean even see some bits of playing boeing called affected ~ itis stil on no account to be missed, fori isa revelation of, 2 great musician tonal involved with the ‘orchestra in presenting a great piece of music, not just another concert, ‘Trevor Harvey October 969 Grieg + Sibelius Grieg Peer Gynt Suites Nos and 2 Opp 46 ond {5 Holerp Site, Op 40 Sel Legends, p22 ~No2, The Swan of Tuonela Kuolema - Valse Uist, Op 44 Finlandia, Op 26 Bern PiharmonicOrchestra/ Herbert von Karajan 2G. 439 0102077000) Recorded 1982 Very impressive indeed, Somehow one fecls that one could stretch out and touch the players, so vivid isthe sound here. In the Peer Gynt movements, there's much greater range and separation. Peer Gynt is ‘most beautifully done, Ae times you might think the wind could have been a shade ‘more distant, particularly in the ‘By the seashore’ movement, but there’sno want of atmosphere here - quite the contrary! Not 1 put too fine a point oni, this isa marvellous recording. In the Hollrg Suite, the sound has marvellous clarity and definition as well as exemplary range. For some tastes it may be a litle too sophisticated but one’s admiration for it remains wndimmed, The playing throughout is beauifally cultured and there's wonderfl lightness and delicacy. “The present issue is Karajan’s third sceotant of “The Swan of Tuonela’ and its regrettable that he never committed to dse the four Legends in their entirety. I's as powerful and atmospherie an account as ever recorded, and the remaining two pieces, Valse triste’ and Finlandia, reinforce the feeling that this partnership has never bbeen equalled. The stirring account of Finlendia is incredibly wide-ranging ~ the orchestral playing is really in a clas of ts ‘vn, Robert Layton funy 1353 Haydn DeSchophing The Creston) Ganda Snows: Cita Luteo zit Mndric (arias) Werner Kren 27 (rats only Dietch Pc Destu i Water terri: Vena Singveren Bern Piano Orchestra Herbert von Karan ts «407612008 ADD) Recorded 1966 In the April 1968 issue Teompared the Decca Miinchinges version with some of the earlier issues, among which the DG Markevich of 1956~ now deleted ~ seemed tome the best, while the choir and corehestra of the Philips/Jochum issue of 1967 were not ofthe same high standard as sramophanecoukthose of Markevich. The Decca went cforlessly to the top ofthe list and I poured ove superlatives about with a special bouquet for Minchinger's admirable direction ofthe glorious work. His depiction ofthe ‘Representation of Chaos’ instinct with awe, mystery and pocty, and superbly played by the Vienna Philharmonic Orchestra, was the finest had ever heard on dst, Karajan’s view of i is more dramatic; with aggressively loud chords, in the course of it followed by disproportionately sot passages. The intention is obvious bu the resul es awesome than Minchinger’s more restrained and imaginative interpretation This Bist, and unfavourable, impression vas almost entirely erased throughout the performance of theres ofthe work and, as expected, the Vienna Singerein and the Berlin Philharmonie Orchestra produce as fine a sounds their counterparts inthe Decea issue, while Karajan brings out much vivid and sensitive desl without, tomy ‘nin, ever quite capturing the poetry and freshness of Miinchinger's interpretation. ‘fhonours are more or less equal henwecn the two choruses and orchestras thisis not cre so between the soloists, Some readers maybe puzzled by th inclusion of two tenors inthe tile information above, since the score alls for only ome. The reason for this, as others will guess, was the tragic death of Frit Wunderlich during the recording sessions. This happened after he hha recorded ll the arias that are sung by Uriel and was due wo undertake the recitatives; and so Werner Kren, the Decea Uriel, was called in to record these. His voice, fortunately, has a quality of tone not unlike that of Wunderlich, and indeed not everyone might notice the change-over except fora lesser volume of tone in the younger arise. We ae very fortunate to hhave Wanderlich’s lovely singing preserved for us. Krenn was a most dlightal Uriel ‘hat his youthfl voice could not produce the required volume in the allegrsection of the frst ara ‘Now vanish before the holy ‘beams’, nor could one expect of him th sresterarstry and sensitive feeling for ‘words of Wunderli Gundula Janowitz’ pure tones and ‘musicianship give pleasure as aways but, 35 sometimes in other recordings, she sounds rnon-cornmittal, a, fr example, in “With verdure clad’ and “On mighty pens ‘whereas Elly Ameling’s lovely singing a ll times conveys the joy and radiance of Gabriels enchanting masie. Tom Krause, Decea’s Raphael, was in his very best form ‘bye Waleer Berry can give greater weight of tone to ‘Rolling in foaming billows’, and in the slow section ofthat aria in desribing sramophonecouk the purling ofthe | impid brook? ~ and elsewhere ~ he brings a greater sensitivity tothe words. Inthe trios these differences are of small account, and in both recordings the blend of tone and balance are excelent. In the last section ofthe work Fischer= Dieskau and Christa Ludwig, as Adam and Eve, are superior to Robin Fairhurst and Ema Spoorenberg. Fischer-Dieskau makes an Adam both tender and imperious. He leaves no doubt chat Adam is to be the dominating partner and Ludwig, skilfully softening the upper reaches of er voice, shows herself to bea submissive but sensuous Eve, due to be Adam's undoing. This isa very subtle interpretation. I should mention that there isa big ewe in their lengthy duet ‘Graceful consort. ‘The recordings ofthe two versions are so _good that there is little to choose between them, This is one of those instances when ‘one would want to possess both of them, but even ifthe DG was far less good than it is TI would not want to be without Wunderlich’ lovely singing ofthe arias and in particular of ‘in native worth) ‘Alec Robertson Octabe" 969 Holst ‘The Planets IAS Kammerchor BerlinPhtharmonic Orchestra 1 Herbert von Karan DG 4390n22-D00) Recorded 1860 Itisnow almost 20 years since Karajan made his memorable Decea recording of ‘The Planets with the Vienna Philharmonic Orchestra, a version that tll stands the test of ime. The command and concentration ‘of the performance, not to mention the loving care over orchestral textures, made it 4 revelation particularly for English eas Unfortunately for those who already loved the score there were one or two points of irritation ~the hints of portamento in the luscious sting phrases of Venus, the literal ‘quality in the syneopations ofthe first section of Jupiter’ and some uncomfortable linking of sections, the strange clanking of the bells in ‘Satur sounding almost like chains. Tam delighted to report that everyone of ‘those points of irritation has been removed in what ha evidendy heen a serious recthinking of the score. To my ears such changes as there are have all brought improvement, and the result isa performance which may keep one oF wo touches which wil strike the British listener KARAJAN SPECIAL EDITION asslightly unidiomatic but which again takes us into the realm of revelation, helped by splendid digital sound, forward and rounded, Karajan’s earlier aecount of Mars? ‘was biting enough, but this one is even ‘more sinister, superbly controlled in its ‘build-up with blazing brass to make Simon Rattle’ account of last month on HMV" sounds rather lightweight atts faster ‘tempo, ‘Venus’ is even more sensuous in its ‘tonal beauty than before but, as Tsay, the style is purer, and ‘Mercury’ ata slightly ‘easier tempo has more lift in the dotted rhythms in compound time. ‘Jupiter is superb. The pointing of the syheopated opening section now makes me want to hear Karajan conducting Walton, while the great melody — withthe bar in ‘nwo whieh ineroduces it made unusually clear has a nobility to have one wanting to hear Kargjan in Flgar, no longer dragging as before and with no rallentanda om the final fortisimo phrases. "The climax of ‘Saturn’ is even more powerful here than it was in Boule’s most recent version, withthe ebb and flow of crescendo controlled with unrivalled ‘concentration, Hone notes a slightly untidy wind chord just after fig 2 ie was plainly betcer to keep a take which conveys such spontancous growth, and the lack of precision is very much an exception, The ‘ensemble of the Berlin Philharmonic, consistently a degree crisper than that of the Vienna Philharmonic last time, shows up almost all previous versions in such a movement as Uranus’ and the fading wind chords, each with a diminuendo, convey the disappearance of the magician more atmospherically than Fan ever remember, while the great upward sweep of organ _lisndo on the calminating fortisimo is heard as never before, almost too clearly. ‘Neptune’ again inspires Karsan the tone- painter, and though T-could have done with more alternating chords from the women’s choir before they disappear, the balance and bloom of off-stage voices is most beautiful "To my mind, with richer yet more analytical sound, this new version certainly ‘outshines the very commendable new digital version from Simon Rattle and the Philharmonia; itis far more concentrated as ‘well as more polished asa performance, [And though there are points where I stil prefer the lat Boule reading as well as Previn’s heautifally balanced and apely paced account (both on HMV), I would recommend this Karajan dise to almost anyone asa frst choice. Fonly hope the ‘maestro will now be persuaded to put more English music on record, Edward Greefiela Sopra 661 (GRAMOPHONE JULY 201415KARAJAN SPECIAL EDITION Honegger - Stravinsky itonegge Symoiony Wo 2fr sings and trumpet Symone Liturgique 03) Stravinsky Concerto in for sing orchestra Berin Pinon Orchestra erbertvonaraian 6 ae 252608 1 ADD) Record 973 ‘The conjunetion of Karajan and Honegger rather surprised me and I wondered if Karajan would bring to, sy, the opening movement ofthe Symphonic Liturgigue the rugged strength ierneeds (and which Ansermet, on Decca, so well supplies) I need have had no doubts, for Karajan is at his most foreefil and gives splendid accounts of both symphonies. To understand them fully little knovsledge oftheir dates of composition is necessary and of Honegger's frame of mind when he wrote them. No 2 vas ‘commissioned by Paul Sacher forthe tenth anniversary of hs Basle Chamber Orchestra in 1936; and if Honegger had had i ready in time, itwould doubrless have been a very different work than itis. But he didn't and iewas only completed in the exely wartime ‘years, when the composer was in a state of ‘deep depression. This does not imply music ‘ofa passive melancholy. Quite the reverse, for iis fll of vigour even if,under the . ‘Anny Flbermeyerscr—Sadman, Dew Falry Choltsof Loughton High Schoolfor Gitsand Bancroft Schoot Piharmonia Chorusand ‘Orchestra/Herbert von Karajan Warner Classes mono ® 6407162108 + DD) Recorded 1952 Talbvays thought it could be dane i someone really set their mind to it, and insisted on it and now it has been done. We have come near to perfection before, but never so clase as in this recording of Humperdinck’ exquisite fairy-tale opera. Te isstilla recording, which means there are bound to he some imperfections, small as they are here, but the scene in the forest (Act 2) is sung and played and recorded ‘with a sensitive regard for the atmosphere the music can create, ifallowed to, that has, until now, not been equaled. The sage direction tells us that on the rise of the curtain to this scene Gretel is humming quietly to herselP the folk song There sande alee mean in the oad alone. Elisabeth Schwarckopf produces the illsion perfectly, and the orchestra respond in like manner ll, asthe recording give ito us, ‘on the plane of absolute quietness. The ‘cuckoo calls and soft, mysterious voices ‘echo the lost children’s exy ‘Who's there?” ‘we are with them in the dark forest ~ and it is, a8 directed, witha ‘Soft, gentle voice’ the Sandman brings slecp tothe children, another perfectly achieved illsion of fairy-tale personage, faintly seen in the dusk. Then, very quietly, the two children sing their ineffably lovely prayer about the angels and once more we are with them, as ‘even in the opera house looking a the stage ‘we could not be. ‘The tender intimacy of performance and recording are something to marvel tone never thinks ofthe studio and the opera ‘could not have been better east. The ro Elisabeths sound always lke the delightful children they are supposed to be and avoid all suspicion of archness and both sing beautifully throughout. Josef Metternich and Marie von Tlosvay are equally good as the parents and Else Schirolf produces an amazing variety of sinister sounds as the witch. Her ‘hocus-pocus’is really frightening. Anny Felhermeyer’s pretty voice is brought forward as the Dew Fairy (quite correctly) and this dferentiates her sufficiently from the Sandman. The fresh and enthusiastic singing of the school choirs is pure delight: and when principals and ‘chorus sang the last words in the opera, to Humperdinc’s inspired melody, ‘When past bearing is our grief, God the Lord will send relieP I was moved to tears. Karajan has been accused of aver-speeding in his Mozart operatic recordings ~and with some justice ~ but he never puts « baton ‘wrong, soto speak, inthis opera [like the slow unfolding of the ‘prayer’ melody atthe start ofthe Overture, and there isnot a moment when he over-plays the brilliantly scored seetions. The themes are, as ‘everyone knows, woven together with a _Meistersinger-like richness, bu the ‘counterpoint is always made beautifully clear. The Witches Ride (she is perhaps a sramoptanecoukKARAJAN SPECIAL EDITION sort of fallen Valkyrie! is vividly done = the big drum comes out with sealing reality ~ and the gradual transition to the quietness of the forest scene managed with much skill. Karajan is, in fat, in affectionate accord with the score throughout. ‘The recording of the orchestra - who play like the angels of the dream tableau — is really superb and the high string tone comes out with a beauty tape recording has Tong denied it. ‘When I was tall producer at the BBC and wanted conditions to be as favourable tw the brondeaster as posible I used to say, half jokingly, “There must be love in the studio’ to all concerned: and I fel this spirit was about inthe studio when His! nd Gretel was being recorded. Tesounds, anyway, as fi was sung, played, recorded, and — not least - directed with love. For that and this beautiful result our most igratefl thanks. Alee Robertson inn 1954 Leoncavallo « Mascagni ascagi Cavalera scan Franz aveto ier Santaraa haianetMortin nnn tol Cari tego nk Gangacome Gul anno Maria Gracia Alege luca (Chorus and OrchestraofLaSeaa, Milan /Herbert vonKarajan 1G 457 7642(80'» ADD) Recorded 965 Leoncavalo Pagliacci (Chorus nd Orchestra ofLaSeala, Milan /Herbert von Karajan 1G. 449 7272077-ADD) Recorded 965 Predictably Karajan gives the heavenly (orhellsh) «wins of opera area face-lift. “The traditionalists will certainly ib at some of his calculated effects, often saying, TTimagine, chat the performance lacks Italianate warmth or that the speeds are too slows, but my feeling is that the result could hardly be more refreshing, just as it was For sme in Karajan’s Carmen, Aid and Trvatore. In the frst place Karajan really does achieve a standard of discipline with Taian players and singers that I daresay has 18 GRAMOPHONE JULY 2014 seldom been achieved since the heyday of ‘Toscanini, and maybe not even then. “To hear the eres of ‘Viva’ in Turiddly’s Drinking Song sung as crisply as here may not be very realistic, nor may it be traditional, bu i has a musical excitement of ts own. True, such taut discipline does hhave its drawbacks. Or take Sancuzza’s duct with Turidés "No no, Turiddu’. Karajan’s speed is very slow with a deliberate curb on ‘emotionalism so that for once one has an Impression of restraint. Cossotto, a superb Santuzza, is positively encouraged to sing the reprise ‘La tua Sancuza’ with a heavenly pianissimo hal-tone, and the result ‘is more affecting than any extrovert performance. Bur one does have to admit (and here’s the rub) that when forthe final unison passage Karsan slows the speed stil further, there is not quite enough ‘movement to carry the line of the music on in the firm way it needs (On the other hand Karajan’ slow speed and emotional control work wonders in the nous intermezzos of both operas. The points that Karajan chooses a slow speed and then sticks toi, instead of choosing a slightly faster one, and then allowing himself all sorts of chythmic freedom. At the climax of the Cr Intermezzo there is barely any ralentendo stall, and one suddenly finds the music shedding al its associations of Palm Court and becoming ‘genuinely beautiful again, Te goes without saying that Karsjan is constantly on the alert to make the most of dramatic poines, and though at the beginning of Cav this makes for some rather tiresomely exaggerated bursts of fortivimo sound, that is very much the ‘exception. The dynamic contrasts at the end of both operas are hair-raising. In Cro the tension is wonderfully buile up a the ‘moment when Turiddu throws away the wine he has offered to Alfio with the village women muttering apprehensive as they Jeave: the sort -of tension in pianisino that Karajan achieved just before Scarpi's Te ‘Deum in Tass, ‘Then later the sharp string tremolo leading into Turiddu’s solo “Mama, quel vino’, and later sil the fortisine outburst as Lucia and Santuzza embrace, Thad never realized until hearing Karajan just how effective the strakes on the tam= tam are before and after the off-sage scream, followed by'afertisimo bang on the ‘impani forthe final outburst so sharp and loud it has one jumping out of one's seat You might say, I suppose, that Karajan is substituting one sore of vulgarity for another, but when singers have been chosen for both operas to match his approach, the result, ind, is wonderfully convincing. have mentioned Cosstto already, and her ‘Voi lo sapete'is one ofthe mest beautif Thave ever heard on record, fllsring Karsan’ zompo tye up toa superbly ‘controlled climax on ‘Me Tha rapt’ then a breathtaking tp F sharp, ell pinisino, ‘on Priva del’ onor mio mango’. You right complain that ‘To son dannata isnot prssionate or convinced enough, but the inner self-rorment implied leads on most affecting to the poste on ‘Andate, 0 rmama’. suppose i the opera house after such a performance the Italian might not feel he had had his pound of flesh, but this style of performance scms to me exactly the right one for the gramophone. You might even say that gramophone technique equally ‘with Karsjan himself is here influencing the progress of alan openssl ‘Gulf isin glorious voice a Alf, frm and dark, making his snarls on ‘ad essi non perdono in the duet with Santuzza both tuseal and dramatic. Carlo Bergons as Turd is another singer intelligent and soylish enough to match the Karajan approach, particularly fine ~ clea, exact and unvulgar— in his final solo, bu itis the part of Canio in the second opera that «gives him he fllest opportunity to shine, His atcntion to word-meaning comes most surprisingly in these days from an Tealian tenor, and though ‘No, Pagliaecio non son’ does not have the biting quality ‘one really demands in the opening’ passage, the whole ara has afar wider range of expressiveness than usual with a pore head-tone on ‘Sper, tanto il delirio’ and an opening-out atthe end. Giuseppe Taddei as Tani isnot quite 0 steady in plaees ashe once was, but like the others hea singer ready to sing sof, and his panisino on Un nid di memore? in the Prologue is most memorable Rolando Panersi makes a precise and inclligene Silvio and Ugo Benelli as one would expects deightily ight and fesh in his Harlequin's Serenade ‘There remains Joan Carlyle making her debut ina major recording ole and that rmost succesflly. Thisis nota voluptuous Neda, bu iis one specially fitted for Karajan’ interpretation: ile too controlled perhaps inthe great emotional rmoments but fesh and pare intone and tose musical in her phrasing. Lhave a feeling that he Kalin 8 vowel istill not ‘quite open enough, and that brings hint of sightnes, butt isa small fale se against the positive achievements. Dramatically she does not sound quite so much at home 3s the others (hardly surprising under what rust have been obvious tension) and tis a ty that she does not make more of the al play scene, taking up the ply after sramoptanecoukCanio’s first outburst diffidently rather than with the forced brightness that conveys the dramatic conflce more vividly. But its {good to find thac Carlyle ean hold her own in such company, and itis even better that ‘the voice takes so well to the mierophone. ‘Asa moment to treasure may I suggest the ‘glorious halftone in the duct with Silvio on the words "Tutto scordiama’ ‘The recording quality is excellent Sometimes the off-stage effects are alittle too distant, but the stereo atmosphere is most vivid, In a final recommendation there is no point in making comparisons. Karajan is unique, and unless aeraitionalIelianate style is essential I would recommend this set 1s first choice whether for the two operss in harness or separately Edward Greenflld 01200" 1965 Mahler. ‘Symphony Noe Ricker Lieder kindertotenieder* “Chvistabudwigime Bertin Phitharmonic Orchestra Herbert von Karajan 16.6 457 716260R2 129 + ADD) Recorded977 Karsjan’s reading of the Sith, the darkest symphony of Maller, isa revelation, The last time I spoke with Deryck Cooke, before his untimely death, [remember discussing the first of Karajan’s Mahler records, Das Lied ‘von der Erde, which he had not then heard Ie truck him, he said, that Karajan’s perfectionism would chime exactly with “Mahler's own comparable perfectionism as a ‘conductor. Whether or not he would have approved this version of the Sixth as much as do, the combination of polish, rhythmic point and flexibility make for a reading that has both concentration over the broadest span and consistent fantasy and imagination ‘over detail In each movement Karajan finds extra point and intensity, but i is in the slow ‘movement, the Andante moderato, that Karsjan transforms the music, puting it on a level of inspiration which tll now Thad never appreciated. Where normally Lhave regarded this asa haven of relative peace ‘between the tensions ofthe ist «wo movements and the storms of the massive finale, a lengthier-than-usual interlude, Karajan presents i¢as one ofthe greatest of, Mahler stow movements, and the whole balance ofthe Symphony is altered, resting less for its musical weight on the outer sramophonecouk Karajan’s extra intensity in that Andante can be appreciated from the very first phrase. The comparison with Soli om Decca) is instructive, for it is Soli who adopts a more heasily underlined expressive style at slower tempo, but who even so conveys les weight of feeling. Karajan’s more flowing tempo and simple lyricism has an inner depth, conveying not just easy songfulness bur overtones of poignant ‘melancholy in a purer style, More and more in this movement Karajan makes me think of iin elation to slow movements in the symphonies on either side of tin the Mahler eycle - with the simple radiance of the ddagiete of No S and the hypnotie wistfulness of the second Nachtmusik of No 7, but here transcending both in expansiveness and depth of feeling. By drawing special attention to that Andante, 1 do not want to minimize the ‘quality of Karajan’s insight in the other movements, for there, too, he finds new revelation. His asie tempo inthe frst ‘movement is hardly a all slower than Sols (or for that matter Berstein’s and Hitink’s) but the marginal degree of Aexbilgy he allows himself within sections and the well sprung rhythmic style, give it greater variety of mood, prevent the fast tempo from sounding relentless as it does withthe others. Ie goes without saying that generally Karajan’s Mahler style is far more ‘moulded than that of Solt. The second group begins with a wonderfully delicate sccount of the woodwind chorale, genuinely triple piano as marked, with the violins gloriously resonant on theit sequential phrases in the Scbwoungcoll section following, o make Soli seem too literal by comparison, Ifin principle Sols straighter view has ‘obvious merits in holding the structure together, in practice itis Karajan with his wider range of colour who isthe more consistently compelling, so that afer the main section of development, the sudden relation forthe passage with cowbells seems far more than an unexpected daub of local colour but rather a moment of truth in sudden stillness, withthe bells as marked) kept in the distance and the muted horns eivng a hint of the sinister, even recalling ‘Wagner's muted horn for the Tarmhelm motif in the Ring. Lear Ring overtones, 100 in the Schersa, which ere start a it should asa sort of nightmare reflection of the opening of the first movement, and with the semitones on tuba and trombone just before fig 69 suggesting Fafner music In each section Karajan’s charaeterization is ‘beauiflly pointed. ‘The grasa nudges the car, where Soltis relatively straight and angular, and at fig 80 with the repeated KARAJAN SPECIAL EDITION thorn sforzandas Karajan suggest an echo of Hagen summoning the vassls in Act 2 of Governor, agai wit nightmare overtones ‘As forthe finale, forall its enormous Jength (ust on hal an hour inthis performance) it emerges herewith a clarity ff logic that for me sets it above the comparably massive finales of Nos Sand 7. Karajan’s control of tension is such that the first appearance ofthe cowbell near the Ihegining ths time brings no immediate relaxation but only a pointer tothe future, and for all he lasciousness of the ponctasting moc with its swirling harp xpeggios nd rich rising octave for the violins, sounds pure in sweetness, never self-indulgent. gain the light and shade are extreme but always with an tunderiying thread of logic holding sections together, so thatthe famous hanmer-blow ac fig 140 comes ait shold asa satnying culmination. “The recording is one ofthe very finest ever given to Karajan in Bedi, with ample range and ichness. Wherein some of Karsjan’s recent recordings Ihave sensed a synthetic balance devised by the engineers here the perspective from front to hack of the orchestra through the widest dynamic range i vividly realistic. Karajan and Christa Ludwig give usa deeply satisfying account of the Kinderotnteder. ere Karajan is uly ‘nis clement, as pereeptive and understanding a Mahlerian as Furewingler Similaely proved to be in his great recording ofthe Wayfering songs with Fischer- Dieskau. Christa Ludwig has already given ‘sone memorable recording ofthe cycle, Int the new one is even more memorable. Hers are profound, profoundly considered performances, Rucker’ words tlingly tered, The lst song of al (0 take a single example) i intensely powerful and, inthe Jullby close, intensely moving: a haunting reconciliation with death, unmatched (so this performance seems to tellus) unt Strauss nn Abndrot over 40 years late. “The Rilert Lieder re dark, song, affirmative. What's more, che ordering of the pieces is superb ~ the eosly domestic songs (which Janet Baker sings witha rather ‘more wafting tone) nesling between Teh bin der Welt abhanden gekommen’ and “Um Miternache, the song which nobly ends the st. award Green y 3 "Richard Osbome ins 175 & Dacre 5 Mahler Symphony No BerlnPhiharmonie Orchestra Herbert von Karajan [GRAMOPHONE JULY 2014 18KARAJAN SPECIAL EDITION DG 4745372064 +000) Recorded ve in 982 In 1980, Karajan and the BPO madea memorable LP recording of the Ninth Symphony in excellent analogue sound (DG) Asa performance it went further than any extant recording in distilling the music's essentially impersonal, other= worldly character whilst at che same time suggesting what Edward Greenficl swritingin The Guardian, pty called ‘the ‘emotional thrust of ive performance’ ‘One or two erties ere and inthe United States thought Karajan held the work at arm's length; but the reading won plaudits from Mahlerians of many persuasions, for as Schoenberg abserved, and as Karajan and his players so movingly reves, this symphony ino longer couched in the personal tone I consists, 0 to speak of “objective, almost passonles statements of a beauty which becomes pereepible only to ‘one who can dispense with animal warmth anu feels at home in spiritual coolness (Sinle and Ides; Faber: 1975). ‘And yet the reading contined to develop. Ie already had great precision, beauty and tonal cartyal all-marks, Schoenberg tells us, of the late Mahler style-but there ws clearly more to si Like Mahler, Karsan has becn accased by some colleagues of achieving results through a super-abundance of rehearsals. Bus, sys Schoenberg, the great conductor Inows in dhe ninth rehearsal that chere is more to sy in the tench, whereas most conductors have nothing vo say afer the third; "the productive man ‘conccives within himself comple image of what he wishes to produce’. All of which is germane tothe present performance. In 1982, the BPO's centenary Year, Mahler's Ninth was played in an unforgetable series of concert in Saleburg, Berlin and New York. Two things were ‘evident in the momentous Bist performance in Salaun in April 1982. First, Karajan ‘vas bringing an added toughness and truculence to the opening measures of the second movement, strengthening ssl farther an already masterly unfolding ‘of Mahler’s powerful essay inthe metamorphosis ofthe dance. Secondly, the LP recording was no studio fabrication Schall and his men really di play the work rom fst note to last with a degree of technical address which, by normal standards of human perfecibility, was well nigh incredible, As the 1980 LP recording 20 GRAMOPHONE JULY 2016 ‘was not in digital sound and as the reading Inad itself evolved, Karajan seems to have ‘needed litle persuasion to allow the taping. ‘of the final, Berlin performance in 1982. T say performance advisely, for what we Ihave here isa single performance, though ‘the dress rehearsal was taped as a precaution and used (Lwould suspect inthe ‘concluding Adagisio) where audience ot platform noise was likely to be damagingly intrusive, "The result is again exceptional. Certainly this is the finest live performance of “Mahler symphony to have appeared on any’ kind of record since Mengelberg’s 1939 account of the Fourth Symphony” Interpretatvely and orehestraly, itis superior to the historic live 1938 VPO set of the Ninth under Brano Waker. Walter never realized the concluding Adagio (om record, at least) as steadily, as lucidly, as eloquently, as dispassionately as Karajan; and the old VPO is no mateh for our own latter-day BPO. ‘Only in one respect does the old Walter recording seem preferable and that i some degree of distance that exists between the microphones and the orchestra. Make ‘no mistake, the digital sound on this live Berlin recording is wonderfully lear and thrillingly actual; but I am not always at cease with the conductor's-car-view of the proceedings, hough of course long stretches of the score ~ the ruminations and chilly declensions of the frst movement, the rape Trio of the third (fabulous violin- and trumpet-playing here) and paragraph after paragraph of the fourth derive immense benefit from the absolute clarity and absolute quiet of the CD. Technically, there are similar swings and roundabouts with Solti’s studio recording (on Decca, as EG pointed out last November. But good asthe Soltis, i isn't in the Karajan class as an interpretation. Which is no disgrace, for Karaan's reading and the Berliners playing of it the Adagio in especial but much else besides in this latest performance ~ is one ‘of the seven wonders of the modern ‘musical world. Richard Osbome uy 1924 Mozart Cosifan tutte Esabeth Schwarzkopf o> Nan Mersin 22cm SestoBruscantni Pitharmonia Chorus and Orchestra/Herbert von Karajan EMI mono ® @ 9482452 or Regs mono @ @ RRC3OVO G15 + ADD) Recorded 1954 This performance worthy tobe set beside = the Glyndebourne one seconded fr the Mozare Opera Society (EMD and it has, of course, the advantage of present-day recording technique. The Glyndebourne set omitted two ans from Act 2, Tradito, seherit’ ung by Ferrando) and ‘E amore un adroneelo (sing by Dorabell), which are restored in the present recording, though the Ducttino in Act I, and Ferrando's aria ‘Ah! io veggio, quel!” anima bella are, as is eustomary, cut The recitatves are reduced tothe necessary ‘minim, but they are sung with such ‘erve and expression that Lakme regretted the cuts. One ofthe most delicious ‘moments s the conversation about the weather between the embarrassed couples the garden scene in Act 2. "The eastng is ideal. Elisabeth Schwarzkopf is in splendid voice a the sentimental Fiordiligi and sings her evo big arias not only bilianly but with expressive ‘moments that are really touching: and Nan Merriman, asthe practical Dorabella, is equally good and keeps a firm hold of the vocal line in her Glack-like aria, ‘Smanie implacabili. The two voices blend well and the characters, vocally, are excellently contrasted, Lisa Orco has not quite the flexibility that Alda Noni brought tothe part or the mischievous charm I remember (in an unforgetable performance at the Residenz. ‘Theatre, Munich, in past years) in Elisabeth Schumann’s singing: but Miss Otto isa good Despina and very amusing in her assumed voices as the doctor and notary ‘Sesto Bruseantni’s Don Alfonso isa subtle and convincing characterisation, He uses an apparently gentle old man's voice (ma peaceful old fogey’ as he makes fools ofthe sisters (and indged of their lovers) and this generally quiet manner renders his ant-feminine outburst in Act I all the more effective. Rolando Panerai, 3s Guglielmo, subdues his powerful voice to the needs of the fccasion and Léopold Simoneau, as Ferrando, surpasses himself in lovely tone and phrasing. This strong cast is supported by ‘orchestral playing by the Philharmonia (Orchestra under Karajan of the finest (quality: one fels every member of the orchestra is giving of his very best. Both singers and players handle their lovely sramoptanecoukKarajan wth EMI producer Water Lepge at kingsway Kalin anuary 1258 phrases like jewels and throughout the ‘opera the performance, sparkling, tender, wity, vivacious, by urs, gives the ‘maximum of musical enjoyment. In particular, the sensuous beauty chat informs Act 1 is perfectly realised. This superlative issue is notable, also, for the close observance of Mozart's expression marks, of which one of the most Frequent is sotto vce. This we really get: and the asides are real asides, How refreshing this. Te ‘was good to hear Alfonso’s ‘ll burst myself with laughter’ coming through so clearly in the adorable letter-writing quintet, and the engineers are to be congratulated on this admirable bit of balance, Bue the balance is extremely good all through both between the voices themselves and between them and the orchestra, Only inthe first quintet (Sento, O Dio’) are Alfonso and Guglielmo a litte too weak in tone when all five voices are engaged, and Simoneau sounds a litle slistantin his arias Karajan’s tempi seemed to me just right. The Overture chuckles along delightfully and though the allegro molto of the Sextet (lls bree) is taken about as fast as it can safely go the sisters are able to arviulate the quavers in thei part without any blurring. They do these passages, and those inthe lst act Finale, sramophonecouk with brilliane ease and unanimity. ‘The ensemble singing throughout is, perfect. The recording covers a wide dynamic range: tonally [have never heard anything better. Listening with friends to this recording in my music room gave the impression that by some miracle the opera was being performed there co a scale proportioned tots size, enabling us to savour the exquisite musie without any of the usual distraction The comedy is of eourse, a highly arcificial one, bu there are moments when “Mozart certainly not laughing a his puppets, when they take on flesh and blood and are more than vehicles for lovely music: and this is well brought out inthis performance. ‘Whatever good things the Mozart ‘celebrations may bring us next year I ‘cannot think that this superb performance and recording will be surpassed, ‘Alec Robertson Spier 155 Mozart Horn Concertos Nos 1-4 Quintet for iano and ‘Winds in at, KA52° Dennis Brain "Pitharmonia Orchestra/Herbert ‘von Karajan "Dennis Brain Wind Ensemble colin Horsey KARAJAN SPECIAL EDITION Warner clases mono ©® 6783282: (8 @ 633620, Naxos @ 81107007" ADD) Recorded 954 A.glance atthe tile is enough to show that this die ought to be a winner. And so itis ‘One could fairly have wished fora lighter, brighter sound in these pieces of occasional Mozart something more like in texture to the performances we have heard Dennis Brain give with the London Mozart Players, Here the sound is plashy and ‘comfortable rather than limpid. But after having noted that, we ean setle back to ‘enjoy Mr Brain's artstry and virtuosity — ‘but not all four eoncertos on end, however, ‘one ata time please, else the effect pall The D major Concerto isthe two- ‘movement one consisting of an Allegro and a Ron (written for Leutgeb) which, according to Saint-Foix and to Einstein {Go his monograph, not his edition of Kachel) do not really belong together: Nos 2 and 4 were also written for Leutgeb ; no one seems to know much about No 3, of which the autograph has disappeared, This is the concerto with the wonderful (GRAMOPHONE JuLy 2014 21KARAJAN SPECIAL EDITION Romance as middle movement (the tune of it reappears in the final Rondo). ‘Andrew Porter 0:tbe 1954 Mozart. ‘Violin Concertos -No 3inG,K216:No Sin. K219 Anne Sophie Mutter vn Bertin Phiarmonic ‘Orchestra Herbert von Karajan 6) 457 4762G0R 8 +000) Recorded in 978 Anne-Sophie Mutter, the soloist on this BY record, in jos 15. She Nas born at Wehr in south-west Germany in 1963, and made her first flly prefessional appearance under Karajan atthe Salzburg Whitsun Festival last year, She is new studying with Aida Stucki ~a pupil of Cael Flesch ~at the Winterthur Censervatoire in Switzerland, and, very sensibly her concert appearances for the time being tosix orseven a year, It isto be hoped that she will not be rushed off her feet by recording engagements ether, bu this first disc, with Karajan and the Berlin Philharmonic, isa very impressive one Indeed. The technique is flawless, the tone rich and glowing (she plays on a Gagliano violin of 1755), but~ which is even more remarkable ~ her approach to the music has the confidence and assurance ofa seasoned professional: at moments one is reminded ‘of the young Josef Hassid or Ida Haendel Essentially, the performances recorded here are in the ‘romantic’ tradition, with fairly moderate tempi almest too moderate inthe ease of the Adagio of K216), liberal use of dynamic contrasts, and the old~ fashioned eadenzas by Joachim — and what a stunning account she gives of the one in the first movement of K219, Yet the solo playing is always beautifully articulated and perfectly controlled: the fact that i isa lite too prominent in relatien to the orchestra is, of course, no fault of Miss Murter’s, and at least enables us to savour her skill and musicianship to a degree that would hardly be possible in a concert hal. ‘Comparisons seem rather irrelevant: iF you want to hear brilliant young arisein ‘Mozart with «crack orchestra under @ star ‘conductor, you will ger this record anyway. Anne-Sophie Mutter’ achievements a very considerable ene, and promises great things to come, Rebin Golding ertemiber 578 Prokofiev « Stravinsky ProkefievSymphony No Sin Bat. 0p 100" Stravinsky The te of Spring? 1s determined to limit 22 GRAMOPHONE JULY 20:4 ‘Bertin Philharmonic Orchestra / Herbert von erajan 1G The Originals 463 6132G0R 78'» ADD) Recorded 968 and 1977 Karsjan's 1968 Prokofcr Fifth sa great performance Whenever one ‘compares it with ater versions inevitably the DG account hols its place a the top of the list. The analogue recording was ‘uncommonly good for its ime. With che advantage of the Jesos-Christs Kirche acoustis, the sound is fll and spacious, naturally defined and balanced; there isa slightly Teonine quality wo the stings and a natural bloom on woodsind and brass. Karjan lived withthe work fora deeade before he recorded it and this is imameiately apparen inthe way'the Fist movement unfolds inevitably. The ironic ‘opening ofthe Scherzo with is Mawless BPO articulation brings a splendid but ‘unexaggeraed bite nd inthe more lyrical ‘central section every subtle detail of colour ‘comes over. The passionate string threnody ofthe Adagio (what playing, what intensity) is superbly underpinned by darker wind murmuring; the tangiby hushed close leads naturally tothe mellower opening of the esentally upbeat finale with ts throbbing bors and instant echoes of Romeo and Jai Karajan’ Rite of Spring came a decade later and is more controversial Stravinsky hhad been sarcastically seathing about the conulictor's earlier 1964 account, ever describing one section as tempo di hhoochie-koochie”. So, in Richard ‘Osborne's words Gin the excellent notes) Karan let che work rest fora while, and when he re-recorded it in January I itwas done in one single uninterrupted take. The resale has less visceral ‘excitement than the composers own version (although itis more consistently accurate in ensemble) and s without the ‘brill barbarie precision of Musi’ Philadelphia aecoune (EMD), oF the ‘unrelenting thrust and tauness of Solti (Dees). Bucitis sil very rewarding, combining both the symphonic and ballesic aspects ofthis exrardinary score, with the Berlin Philharmonie providing mach sheer beauty of sound, a in the ravishing melancholy of the opening of Pare? and the haunting ‘Evoeation des ances’, although other versions find more purges ‘drama when the horns ener later (rack 17, 1°51") The Philharmonie sound is exeellent and both CD transfers ae expertly ‘managed to retain the full character of the originals. Iam Mare Decent 2000 Puccini. Laboneme Mirella Freaisop Luciano Pavarotti. Rolando Panera. nn Roda a Mcello Nicolai Ghisurov Cotine Glanni Mateo ———Sehaunara Elzabeth Har W00d 9) oem ta Miche! Senéchal 7 mn--nnnnALCndoro, Bent Gernot Pietsch fron Papal HansDietichPohloy._Doganiere Hans Deter Appt Sergeant CChorusofthe Deutsche Oper, Bri: Bertin Phitirmonic Orchestra Herbert von Karajan Decea © 478.0254 (130+ ADD) Recorded 1972 Ikis litte shore of incredible that no new version of so central a work in the operatic repertory should have appeared for almost ten years, Even now itis interesting to note thatthe singer chosen as Mimi is the same asin the last set, Mirella Freni, who sang for Schippers in HIMV"s Rome version ten years ago, Few ifany will question that choice, and Deoca has assembled a singing cast co match and even outshine those on previous versions. Bur of course the contributor who most clearly distinguishes this sec from any competitor isthe conductor. Ie isa paradox that an Italian ‘opera so typical of genre that glorifies the singer should have thrived in the recording seudio on conductors ofthe strongest personality ~ Toscanini, Beecham and now Karsjan, not forgetting some other distinguished names on the list Tis not mply a question of ensemble work being s0 importancin this opera (which i is) but ofa really great conductor bringing out ‘emotional subtleties that even the greatest cast of singers cannot achieve alone. Here in Bobime, working with his own ‘magnificent orchestra, on many counts the greatest in Europe, Karajan adds another to the list of Italian operas which have inspired from him recordings of supreme insight. IF Twas asked to point to the qualities which bring this about, I should notin fact commend ensemble work specially. As in the Beecham set there area number of passages that suggest through tiny sprecisions that Karajan (like Beecham) was simulating opera-house conditions, working on realy long takes. Once tha is said (and itremains an utterly unimportant sramoptanecoukKARAJAN SPECIAL EDITION point in relation tothe positive force of the incerpretaton), there is everything to praise. Karajan as in Tose and Butterfly — brings out refinement inthe score too often missed. Bue here with the Berlin Philharmonic the refinement is even more ravishing to the ear than in previous Karajan sets of Italian opera. Take a very clear instance, the climax of Musett’s ‘Wale Song in Act 2. Puccini very carefilly reserves fortssino markings in the orchestra until th final chord of the vocal ensemble (ig 26), and then there are three bars merely when with Marcello and Musetta falling into each others’ arms the full ‘orchestra, brass and al, punches home the Puccinian body blow. Abruptly the climax is ‘curtailed into-a magical piznisimo for strings, fue and harp. Karajan’s perception aude tothe frisson not only in that last ‘pianisim, which from the Berlin players sounds even more ravishing than usual, but inthe whole sequence af dynamic _gradations. As the voices reach the ‘culminating point ofthe ensemble, the ‘orchestra under Karajan keeps much in reserve so thatthe three bars of triple forte stand outin relief with exactly the force one ‘wants and so rarely hears, even with a conductor as understanding as, sy, Schippers. The Decca recording help, for ‘with spaciousness the keynote and the voices kept in the right perspective, never too close, the gradations of dynamic are beautifully eaught. In other words a ‘moment that many might wrongly think is put together erudely'is given the subtlety thatthe composer himself undoubedly conceived, Karajan’s subtlety is evident to0 in many. ‘other changes of mood, When I frst heard the very opening of Act 1, Twas initially «lisappointed that there was nota more Bohemian lle in the skipping 3/8 measures, Schippers has more sparkle at that point, but having listened carefully a number of times, Iam convinced that Karajan was calculating the degree o il with the finest judgement. That opening, afterall, represents the Bohemians (forall their high spirits) manifestly in low water. Behind the humour les dire necessity, and i is only ‘when the waiters bring in Schaunard’s ‘goodies (Legna!” ‘Signi Bordo!’ that tensions are completely released. It isa subtle distinetion, but itis one that Karajan underlines, for from then on his 6/8 rhythms have an exuberance. ajolity, carefree lle chat is intoxicating. Go back to Schippers and you find the rhythmic ‘contrast reversed, with Karajan the more resilient, confirming one's impression of the Austrian conductor developing from one mood to another, So itis again in the 24 GRAMOPHONE JULY 2014 comparable opening scene of Act 4, when the very statis positively brutal in the _fortissina jabs, only to relax later with the ‘Bohemians’ own change of spits, In Act 3 the contrast is more obvious between the ‘opening chill a forisimo crust, then ‘prinking’ chords on flare and harp) and the much warmer music when Marcello enters, bbutagain Kargjan’s control of hye underlines it more than usual. The prinking chords are infact much slower than usual (erotchet=100 against 112 marked for an Andantino mas but with Karajan’s ‘concentration iis altitude which is positively illuminating I's of course a regular feature of Karajan’s interpretations of repertory ‘operas that he adopts slower tempi than, usual. Some may find them disconcerting, ‘Rhythms have an exuberance, a carefree lilt that is intoxicating’ bbutieis worth remembering how strongly, Beecham used to argue (From his direct discussions with the composer) and actually ‘demonstrated in his clasie New York set of 1957, the need for slower tempi than is common, Here for example in many ofthe big arias ~‘Che gelida manina’ ‘Si mi chiamano Mimi and Mimi's Farewell among them ~ the basic tempo is taxingly slow for the singer, but Karsjan very plainly, even while making his extra demands on technique, considers the voice very closely. [have rarely if ever heard the fermatas atthe climaxes of arias so lovingly prolonged as here. Only a fraction more and ie would sound self-indulgent, but as it is, Karajan calculates to a nicety just how far the ecstasy can be prolonged. Calealation ~ there I suppose is the word whieh will make the anti-Karajan lobby (hich does, fear, exist) shake the head knowingly. My ov feeling is that there is no need for doubt. Karajan has plainly done hiscaleulaions, but the basi spomtanicty is incontestable, based, Iam sure, on very long takes indeed. That spontaneity is most glowingly taken up by Luciano Pavarotti ‘who here gives what is probably his finest performance yet on record, very ape when the part of Rodolfo is one with which he has long been specially associated. This and his recent contribution to the Decea Rigoletto seem to me to establish him on a higher level of artistry on record than before. Every word is bright-eyed and full of meaning, Here isa complete character, actually concerned for Mimi, actually in love, and the range of expression is ‘enchanting. ‘The hints of Gigli, Bjorlin, ‘even of Schipa, help to establish the level of achievement, but this is basically a Pavarotti interpretation through and through, ‘entirely individual ‘Che gelida manin: starts almost conversationally, but then ~as I said earlier ~ the great melody rises up on the longest spans culminating in a superb top C, Here and throughout the set the impression of size is enhanced, not «iminished, by the Decea engineers’ refusal to balance the voice unnaturally close. I as somty that Pavarott at the end of © soave fanciull’ follows the soprano line up to top “and there isno genuine perdendes! offstage - but in compensation Pavarott is remarkable in his willingness to sing sof. ‘Gedda inthe Sehippers set and Bjérling in the Beecham did sing softly too of course, but their closer recording acoustie then ‘took something away. Most remarkable of alli the slight flutter in Pavarotts voice on «half-tone (a hint of Schipa perhaps?) when he wants to convey a specially deep ‘emotion. Iris deliberate, controlled, but utterly natural-sounding. (Of Frenis Mim litle needs to be sad ‘except that her consistency beoween here and the set ofa decade ago is amazing. Si, ‘mi chiamano Mimi’ atts slower tempo is ‘more reflective, less bright and bird bt vocally ie stands very close. In Mini's Farewell the cadental ‘senza rancor is just as lovingly drawn out as before with even more delicate hlf-tone, while with Karajan’s help the emotional resolution or ‘Si, rinasce’ when Mim is reunited with Rodolfo in Act4is even more powerful Rolando Panerai makes a strong, characterful Mareell The dark, Gobbi like tones are even more marked than in the past, cutting through many a texture with ringing, distinctive power, and Lam only sorry thatin the duet ‘O Mini, ts pid non tom’ he momentarily resorts toa “half ‘croon’.Itis one of the few vocal blots on the st, Ghiaurow’s Collie is predictably magnificent, and Gianni Maffeo is a distinctive and well contrasted Schaunard Ieis my only doube about Elizabeth Harwood’s Musetta thatthe voice is not as ‘contrasted as it might be with that of, Freni’s Mim, but chats something ‘common in recorded Babine. Harwood is ‘charming in the role, not as pert and forward as some (literally not forward for pare of Act? thanks to the engineers) but full of character and convietion to mate Karajan’ vision ofthe opera. The ‘exchanges of spite with Marcello at the end of the Acc 3 Quartet are wonderfully ‘cumulative, the frst ‘Pittore da bottega!” made to sound ironical merely. with the venom rapidly developing. sramoptanecoukProduction ofthat kind is very ffetive, though the sword fight in Act brings ridiculously loud clashes of weapon. The Parpignol music in Act 2s far more delicate {han usual hat matches Karajan’ rather leisurely, king approach) andthe procesion of soldiers at the end is enhanced by the spaciousness of acoustic. In past stereo versions the soldiers ave passed from right to lef as here, but this new version brings an added dimension, The recording, as Thave already mplcd is outstandingly oor, Made in the Jesus Christs-Kirche, the sene of mos of Karajn’s major Berin Philharmonic recordings, tas the qualities ‘one associates with Deutsche Grammophon’ offerings made there but ‘wth exerabrilane ‘When it comes to a recommendation, this new Karsan set most now clearly take first place. The Schippers version sl stands up remarkably wel with is immediate sound anda performance of great warmth and convietion. Some may Actually prefer less distinctive view of the seore than Karsjan’s, When itcomes to distinctiveness Beecham stil of course holds his ground. His set with Bjorling and de Los Angeles will never be completely replaced, but for anyone staring ou afresh and for anyone wanting to fll in love with this marvellous sore once again, there iso dub that Karjan’s new set is the one to have Eaward Greens 2.1973 Puccini Madama Butterty Mire Freni cp Luciano Pavarot on. ‘Gita Ludwig me Robert Kerns Michel Sénéchal 27. MariusRintzler 2. Eke Scary ie? Gloraio tendo a ansHaim os ‘ViennaState Opera Chorus Vienna Philharmonic ‘Orchestra/Herbert von Karajan Decca ® @ 7577-2043 (45'+ ADD) Recorded 973 B) When some 18 months ago I reviewed Kargjan’s set of Lt Pobime (Decea ~ aso swith Freni and Pavarotti as principal) 1 noted with surprise that ie was almost 10 years since a new version had appeared. Since then of course, we have had a spate of Bobiomes, new and refurbished. With Butverfly the situation is strangely parallel. sramophonecouk How curious iis that this staple ofthe repertory has not attrated more recordings in recent years. You might argue fanly ‘enough that the Barbirolli set of 1967 ‘effectively dispatched the competition, and certainly it is the only setin the current catalogue that remotely challenges ‘comparison with the new one. But the glory of the Barbirolli performance isthe ripe centrality ofthe conductors reading, his revelling in tratitional Pucinian values, his encouragement of Falian players and singers to expand emotionally 0 take fll account of all the many markings in the score asking for expressive freedom, The new Karajan set represents something quite distinct, something badly needed, but whether you actualy prefer to the traditional view which Barbiroll gives willbe very much a matter of taste. In the frst place the fall glory of Puccini's atmospherie writing for orchestra isa last put on dse. Warm as the HIMV Rome sound was for Barbirolli, ie was hardly refined. Here withthe Vienna Philharmonic playing its heart out, with string tone such as one could previously ‘only dream about in this music, witha band ‘of woodwind soloists who ravish the ear {the oboe - surely new in Vienna~ heare- ‘warming in tone and phrase) the refined sensuousness ofthe interpretation is matched by the glorious recording. In other words Karajan has persuaded his soloist a well as his players to rethink their approaches to this much-played picee and it is worth noting that Karajan like Barbirolli, actully encourages his singers to expand in phrasing. Atone point in Pinkerton’s Act 1 ‘duet with Sharpless (on furor just before fe 32), Karajan actually extends an allargendo longer than Pavavot, the tenor indicating clearly enough that he has had ‘enough of is top B flat. Indulgence, you might think, could hardly go further. ‘But in fact Karajan’s control throughout is very lear indeed, for traditional Puecinians maybe too clear. Asin previous Puccini sets from him his Vienna Tex with Price (Decca) a5 well a his Berin La fob and up to pointhis earlier sec of Burefy with Calls (EMD made at La Seala~ Karajan ‘opts for tempi slower than is common. Heard in isolation many of them wil probably sound excessively slow, for example the first section of the Flower Duetin Act 2. But heard asa whole everything fll into place. “That passage inthe Flower Duet for ‘example emerges clearly in 4/4 with doted rhythm and clear semiquavers on the harp, where it normally launches into a sort of 12/8. To my ear the result is magical. That follows immediately ona tremendous farsi (wakes tute forza and triple forte) KARAJAN SPECIAL EDITION ‘when Butterfly having sighted the ship realises that Pinkerton has returned. As in La Jabime Karajan is meticulous, but fearless too, in obeying Puccin’s very precise instructions at those crucial moments of climax, So precise is he that he runs the danger ~as the impassioned, spontaneous Barbirolli never does of seeming too controlled in brutality one momen, ultra refined the next, but with playing and recording that from frst to last ravish the car this sa set to dream about, The callin the night during the love duet have never before sounded so atmospheric (almost forestalling Bartok) and the Humming Chon, light and fairly fast-flowing, is nothing less than entrancing, completely ‘making one forget routine accounts inthe ‘opera house. And Ihave never fel the horror ofthe final chord, simple but totally unexpected, so spine-chlling. began, afer hearing extracts merely, by thinking that the team of Freni and Pavarotti vas not so well suited to Buterly as La home, but that was a doubt which completely disappeared on closer acquaintance. Pavarotti, once again echoing Gigli perhaps, makes Pinkerton incoa fr more engaging fellow than is common. In the first act clearly enough here is an ‘opentaced ball-playing Vankee, a big, ‘unsophisticated man whose feelings are genuine enough (the love duet is sensuous in every way, not justin the orchestra) but who naturally would not appreciate the full results of his actions, In the final scene without any lachrymosehistrionies you actually believe that he is genuine when he sings‘To son vill the horror of realisation ‘upon him. And always Pavarotti has an inamediate, identifiable response, the voice doing the acting so that the face appears to you clearly in your mind’s eye. Freni, though sometimes taxed by Karajan’ slow tempi, has all the qualities of a Butterfly, a sweet, girlish sound in Act T expanding, not to a ripe operatic sound as the tragedy develops, but toa fll, finely projected tone which keeps the character consistent. “Un bel di’ emerges fresh and communicative even if its slowness will not please everyone, and the transition from. expectancy to total despair when Butterfly emerges in the last scene, Pinkerton having fed, is wonderfully detailed and gripping = the key development i the final tragedy is to involve one, And in the first scene of Act 2, jus before the Humming Chorus, 1 cannot remember ever hearing Butterly’s request to bring her wedding veil done before so tenderly, so full of meaning. In Act | she is too easual in displaying her treasures, but better that than coymess ‘The remainder of the casts largely [GRAMOPHONE JULY 2014 25KARAJAN SPECIAL EDITION Viennese and very impressive down to such characters asthe Commissioner, Hans Helm. Ie is regularly ajoy to hear the subsidiary oles so intelligently and ‘imaginatively sung. Voeally there have been ‘more impressive Sharplesses than Robert Kerns (Panerai in che Barbiroli set for one), tbat the characterisation is completely convincing, while Christa Ludwig, her tone as distinctive as ever, makes a fine Suzuki, again pointing the words with a detail that a training in Lieder encourages. ‘A final choice between the new set and Barbirol’s must, as Isay, bea question of personal taste. But Barbirolli's is awed in pare by the less-than-beautful tone that Scotto sometimes produces, where there is ‘no comparable shortcoming here. In addition the breaking of sides (badly done in the Barbiroll set to produce a side-break before the cannon shot in Act 2) far more apt here one record per scene. Though this means some very long sides indeed, the sound quality remains superbly refined. Iam glad that Karajan's ‘mixing of media need not get in the way. ‘of his producing fine opera sets for the ecort collector. [Fas with La bine, competition is developing, any rival will, have a hard job here award Greenfield 275) Puccini Tosca Leontyne rice. — Gluseppe distetano‘=/.._-Cavaradess (Gluteppe Tae ene SBD Cath Ca¥ 25 ANGER Pero DePalma on Sota Fermando Coren 5 n-ne Serta Leonardo Monreal —nnn~Selarone redo Matt 55x 0088 Vienna State Opera Chorus; Viena Philharmonic Orchestra / Herbert von Karajan Decca W @ 47575220082 (4 = ADD) Recorded 1963 We have been needing anew Toc Fora long time. Admittedly as performance the Callas/Gobbi/de Sabata set is never likely to be surpassed, but the recording now shows its age, and stereo after alls specially welcome in an opera whieh has ws revelling Jn cantatas, shepherd songs and bell-effects off-stage. The earlier RCA set is practically ruled out by Leinsdor?sfunereal conducting andthe later Tebaldi by the combination of {del Monaco's coarseness and George London's unfocused singing 2s Scarpa. Last year there were rumours of a new Callas 25 GRAMOPHONE JULY 2014 version being prepared with Maazel ‘conducting, bu alas plans came to nothing. All of which eaves the field wide open for the new set, and with joy Tam able to report thae on che whole fils just the place I hoped it would. After her Butterfiy feared that Leontyne Price might spoil the characterization of Tosea too by tying too hard, by injecting those uncomfortable shrieks and laughs which are sometimes a substitute for characterization. But like Tebaldi before her Price gives a ‘comparatively stright performance, This is snot to say it lacks convietion in any way’ dramatically. juse that ie does not have the characterful dominance of a Callas performance, When Price in the Act I love duet tells her lover to give the painting of the Magdalene black eyes and not blue ones like the Marchesa Artavant's (Ma fll ocehi ner), Price's wistfulness is merely engaging without the fascinating, ominous overtones of Callas’s enunciation of the phrase ‘But voealy this is not a performance I ‘would fauleatall. Price pours forth a flood of rich, glorious tone and her attention t0 detail is exemplary with the litle grace- notes on the “Mia gelosa’ theme from Act 1 done with superb clarity. Her Vissi d'art! is predictably beautiful, from memory more ‘moving than her accounton a recent recital disc, And when it comes to the famous words of obituary on Scarpia,“E avant a lui ‘remava tutta Roma’, Price wisely opts out ‘of a snarl or even a chesty throb, and simply sings the notes straight with a hint of agonized exhaustion. Some may Find it dramatically disappointing, butat this very point in the coda to the act Karajan is at his ‘most intense, At the very end of Act 3 too ‘Karajan keeps things taut, when Price is not ater most convincing. Iwasa firs little disappointed with 2 lack of size in Taddeis Searpia, but that is possibly che result of John Culshaw’s balancing of voices and orchestra and you have to get used tothe orchestra being. neater and the singers farther away than ‘usual, and in the Te Deum ending Act I the pot-and-pan noises of the orchestra are ‘much closer than the chorus, and even than Seu himselt. Bur even ifthe house-ratling amplitude ofa Gueli is not here, there is everything cls to prise, Taddei hardly matches the Gobbi snarl of couse, but as with Gobbi his range of expression and tone-colour is ‘marvellously wide. The opening scenes of Act are specially impressive with the cat- Tike satisfaction of the first section exactly matching Karajan’s‘pussy-footing” style and the pissiara accompaniments made ‘more sinister by slight distortions of the shythm, Then in the scene with Cavaradossi Tadde’s black tone emerges in its all impressiveness, only to be tumed in a flash toa far lighter, warmer tone forthe beginning of the duet with Tosea and later still wo afresh expansion when the torture is described. On record, I think, only Gobbi has outshone this in @ complete set. ‘Giuseppe di Stefano i the snag. I fear the voice is not quite what it was, as became very clear in the Babe performances at Covent Garden last month. There isa hint of insecurity particularly owards the top, bat happily ~ whatever the recording balance ~ there is no hin here of any’ lack of volume. The opening of ‘Recondita armonia’ had me beginning to worry about what was to come, butin fact di Stelano’s ‘obvious need nowadays to take more care vocally prevents him from committing those overstrained climaxes which have ‘often marred his singing. But perhaps to ‘cover insecurity he does play around with simple, quiee passages which demand. straight singing. So the opening of E Iucevan le stelle’ is erooned not with the permissible beautified tone of a Gigli or Tagliavini but in a careless off-hand way with sliding between notes, Similarly in the duet at ‘0 dole man ‘But for all his shortcomings Teannot think that di Stefano will tur anyone away fom the set with its other fine qualities After all we are well used to putting up with faults in Italian tenors. Among the others Corena must be mentioned as the Saeristan, though I fear his voice is not as steady as it ‘once was, and he covers up with some near sing-speech, very characterful and jolly, bat rot my ideal even in this pare Karajan clinches the argument in favour ‘of the set, and the experiment ~ frst made inthe Decea dda and laer in the Decea Otello ~ of having the recording sessions in Vienna with the Vienna Philharmonic lending refinement has pad off splendidly. Ikis a joy to hear Puccini’s orchestration — sso much subtler than many realize — brought out with such precision, and often asin the opening scene with the Sacristan, I am only too delighted after ll that Mr Culshaw does have the orchestra close up. But Karsjan’simpressiveness consists of ‘more than drawing brilliant playing from the Vienna Philharmonic. Rightly he has avoided the restrained style he adopted for his ide and there s no pulling of punches atthe nodal points when one or other of Scarpia’s themes i roared out and the three “victory” climaxes which Puccini inserted in balance half-way through each ofthe three acts have their full impact, The tension= building in Act2 is wonderfully controlled and the final ling of Searpia has one on the edge of one's seat, Only inthe reunion sramoptanecoukKARAJAN SPECIAL EDITION Xaajen presents te rin Prnarmonicina Moscow concert in 1969 when he conducted Shastakowcis Tenth Symphony infront of composer ‘of the lovers in Act 3 when the “Mia gelosa" ‘theme surges out in full triumph do T feel ‘the need for richer trestment, and that is the most marginal of disappointments. As for the gentler moments Karajan’s control of ‘tension shows itself at its most impressive. have already mentioned the coda to Act2, and all the way through one always has the sense of someone firmly in control. ‘One snag about having the recording in ‘Vienna was tht the shepherd-boy had to tay and imitate a throaty Italian style and «did not come to it naturally. Herbert Weiss does very well, but cannot quite throw off the Vienna Boys Choir halo of innocence. The fall chorus is as impressive in its accuracy asthe orchestra “The recording is spacio the off-stage effects balanced nicely ~ not only the major ones like the chorus of bells, Duc such things as the clanging of grilles which provide s reasonable enough indication of entrances and exits Lam glad that forthe fist part of Tosea's Act I duet with Scarpia very genuine-sounding chimes are used with cathedral-like out-of- tuneness, a very atmospheric touch. The firing squad's shot in Act 3 is perhaps too diffuse, areal fusillade with echo rather than the short sharp erack which is stil so impressive on the early Decca set and clear with sramophonecouk [As yet I have heard only the mono version, but itis clear enough from that how excellent the recording is. am confident that the sense of atmosphere will be still more gripping in stereo. award Grentild Novo 963 Schoenberg NerkarteNacht. Petleas und Melsande, Op Bern Pitharmonic Orchestra / Herbert von arjan 19608.457721260R 08 +A00) Recorded 178 Pelleasis sil sometimes spoken of as though it were hardly real Schoenberg all, 2sifits opus number should properly bie preceded by a minus sign, In a truly fine performance, however, ican seem much ‘more than an inevitably doomed attempt (followed by a no less inevitable reaction) to develop still further the opulence, the transported expressiveness and richly complex motivie development of Wagner and of Richard Strauss’stone-poems, The point isnot that Schoenberg failed in his {impossibly Herculean task but that he so very nearly succeeded, and in so doing forged many ofthe tools that he would need later. Its a cauldron of a work, the 19th century audibly in gorgeous dissolution, the 20th already crystallizing from the lux. Schoenberg's later music docs not reject the ‘ead end’ of Pellet und Melisonde, ts distilled from its ardently fertile inventiveness its subtly (sometimes violently or lurid) expressed emotion, is already impressive formal disepline (which is almost, but never quite, destroyed by the turbulence it contains). So at leas it seems in Karsjan’s sumptuous but finely paced, balanced and controlled reading. He never shirk the ‘most pile-driving climaxes or the most Iuwuriane tangles of contrapuntal tendrils bat does not allow them to obscure the delicacy of colour and the fragility of detail that are also present. The structure, t09, is ‘unobtrusively clear, thanks in part to 3 recording that hardly ever eringes at the ‘onslaughts of sound that it must encompass. Miao liver November 188 Schumann, Symphonies Nos r4 Overture Scherzo and Finale Berlin Piharmonie Orchestra / Herbert von Karajan (GRAMOPHONE JULY 2014 27KARAJAN SPECIAL EDITION 1G & 0477 7932(78'+ ADD) Recorded 1571 = ‘These are consistently fine readings, full of Iyrical feeling and with SEE 4 marvellous sense of line, Isay consistent advisedly since these ‘compendia usualy involve accepting the rough with the smooth but in this instance there are no weak performances, not even of individual movements have always found something endearing in Schumann's well-upholstered ‘orchestration but when approached with such freshness and with Karajan’s genius For texture, all the doubts about Schurnann’s thick sonorities vanish. The textures have an inner life and the phrasing a subtlety that 1 have not heard before except fom Sergiu Calibidache whose account ofthe Second that [once heard withthe Swedish Radio (Orchestra, had a comparable luminous (quality. Karajan’ firmness of grip and feeling for structure are equally in evidence and there is genuine symphonie momentum without any ofthe hard-driven onwatd surge that at times disfigures Sells otherwise admirable set on CBS. Jus¢ listen for example to the Stherso of No: the playing ofthe Berlin Philharmonic could scarcely be bettered, what variety of string colour and lightness of accent! Their continuity of line and [beauty of phrasing in the slow movement of| nphony’is no less remarkable. xecount of the Fourth ‘Symphony strikes me asthe best Ihave hear since Bruno Walter's pre-war 78xpm version with the LSO: it has atmosphere and poetry aswell as strength. My only grumble about the sets the recording: the strings, particularly in their upper register, sound thin, a quality that I thought marred his superlative account of the Mendelssohn Sintish Symphony. However this reservation isnot strong enough to inhibit an enthusiastic recommendation fo this set. RobertLayton eb2y973 Shostakovich, Symphony No10 Bern Piharmoni Orchestra / Herbert von Karajan 1G 4775909 61+ ADD) Recorded 1966 The Tenth Symphony ‘of Shostakovich has hnad to wait almost a decade forts first 28 GRAMOPHONE JULY 2014 stereo recording fom the USSR Symphony (Orchestra under Yevgeni Svetanos on TIMV Melodia and readers may’reall hat | wrote oft with considerable enthusiasm last year. Hot on is heels comes an lteative version from Karajan and the Berlin Philharmonic, a spacious, beautifully shaped and obviously deepy-fle reading which [have found loth exciting and ‘moving. Ivers very formidable competition tothe Soviet version and as 1 would be hard put to choose between the ‘soi were buying a copy, Lam listing some points of comparison in the hope that readers may Bnd them helpful in making up ther own minds. Karjan’s tempi are onthe whole fster than Svedlanow's Inthe very opening he comes closer than any other conductor to Miteopovlos's memorably intense reading (this was once available on Philips) he slower and more spacious than ether Efrem Koreror the now deleted Anger. The quality of the playing of the Belin strings is outstanding in beauty of tone. Karajan hans the changes of tempo with great mastery throughout: in fat his overall grip fn the structure ofthe Bist moverent i 8 commanding a itis impresive. He tends to ‘make transitions almost unobtrusively both Mitopoulos and Svetlano (and if my memory serves me correctly Mravinsky) change abruptly at fig 5 from crotchet=O6 tocrotchet=108, as marked. Karajan’ change isan imperceptible ane over 4 ‘numberof bars. ‘The Berin woodwind play with aristocratic distinction and the elarinet melody just before fg 15 iss memorable in its way asthe extraordinarily poetic playing otis Soviet counterpart in Seelanov's reading. ln sense the latter i even more imaginative in shaping this ine In the development section I find Karajan sccures the greater forward thrust and here again the parallel with Mitropoulos arses though Karajan avoids underlining recedes oF orsandarin quite the same way as did Mitropoulos. Sveuanov's steadier, ‘uncemittng tead with the slighty ra quality of sound produced by the Russisn wind and bras may well have a more authentic ring about it fo many listeners Fput Lust confes that I ind him slightly over-emphatic her. Karan, while never seléindulgent or idiosynerati, avoids sundesining the squarenes of ehythm. The pathos ofthe coda with the expressive sighing passages for stings and piccolo is sudmirablyeapeured in the Berlin performance. Svetlanow produces a more bleak though no les imaginative) mosphere here. In the seers the Berlin orchestra play with dazaing virtuosity and so, of course, dd their Russian competitors. Choice will inevitably depend on personal preference here: some will prefer the more sophisticated tonal culture ofthe Berliners, ‘others the less subtle but no ess characterful blend of the Russian orchestra Karajan does to my mind score in the third movement: his quicker tempo and firmer _sip prevent the movement hanging fire and the closing pages are undoubtedly touching. The les refined wind and brass ‘of the Russian orchestra havea bleaker, more idiomatie colouring: individual playing is always sensitive too, but Karajan takes better sense ofthe structure. The ‘opening ofthe finale is magnificent in Karsjan's expressive hands though asa ‘whole Svetlanov has marginally greater character in this movement. As you ean see honours are prety evenly: divided between these two issues, Both ‘conductors offer valuable insights into the ‘work and both are well worth hearing. FT already possessed Mravinsky’s mono LP of the symphony I think I would be tempted to invest in the new Karajan as affording an impressive contrast. On the other hand those who possess Anger! or Kurtz would 1 think: find that Svetlanow’s reading adds a dimension to the symphony as they know it and isin a sense more closely related to its experience, As far as recording quality is ‘concerned, the new DG produces a beautifully smooth, well-balanced picture ‘vith plenty of atmosphere and warmth though itis cut at slightly lower level than the HIMV. Robert tayton iwary 95 Sibelius ‘Symphonies Nos 7, The Swan of Tuonea, “apiola Bertin Pitarmoni Orchestra Herbert von Karajan G8 2 457 748:260R2.048'+ ADD) Recorded 965 and 1967 Tam in no doube that ifyou want now the finest performance of the Fifth Symphony, then Karsan is the conductor to choose. ‘This new version impresses me very Aleeply: areal conductor, with a great ‘orchestra, recorded in the most sensitive sound. The first movement, taken very slowly (and Sibelius did mark it molto ‘maderat) is most impressive. There is wonderful ppp string playing and recording, ‘so essential in chs music, and [think Karajan now manages the transition to the ssherzo and following build-up of speed and excitement even better than he did before, sramophanecouk‘The slow movement, excellently played, reveals the only recording weakness ~ that ‘that you really cannot hear them, even when Sibelius carefully qualifies his pp with the word marcato. (This ean be said, t00, of some arvo passages in Tapiala, though in such impressionistic muse it matters ‘much les) ‘The finale is purposeful and, again, very exciting. But why won't Karajan play the last nine bars in a strict tempo? I don’t mind what tempo ~ any ald one will do, as long as e's precise, Otherwise, what isthe ‘point ofall the trouble Sibelius took to space the chords as he did? Karajan plays the first seven of these bars in a strict, ‘though fast, tempo, but then broadens altogether for the last two chords, so that where Sibelius has put his final chord on the second beat of the bar, Karajan puts it ‘on the third. (He did this in the earlier version and all ata considerably, faster speed.) ‘This seems to me extraordinary and I simply cannot understand how a conductor ‘who can give a performance ofthis _greatness can miss this simple point. However, Ladmi that made too much of this last time, so I'l say no more. Ie isa ‘great performance and one thats surely ‘going to help bring back this astonishingly: ‘original genius to his rightful place. Tapiola, Sibelius’ impression of the Northlane’s dusky forest, isa far more ‘welcome fil-up than Finlandia. Not only is it musically infinitely more worthwhile: _makes no concession to concert hall ‘popularity and sois unlikely to be heard ‘often publily, even when Sibelius again takes his rightfl place in concert programmes. Itis very finely played and DG's way of recording suits it well, for in this sore of piece the utmose clarity is not the prime vir. ‘Comparison of the two Karajan versions ‘was most interesting ~ especially as I don't seem to have been particularly impressed by the earlier one, whereas I was deeply satisfied with cis. Yet there isn’t much difference in interpretation ~ at least, ‘not superficially, though I think the reading ‘has matured in countess subrle ways. The real difference in impression ~ and it remains ~ comes from the very great difference in the recordings (which ‘demonstrates clearly how much any artists at the metey ofthe engineers.) Perhaps I shouldn't put it like chat, for it may suggest that the Columbia recording ‘was inferior. ln fac, I would call it the more natural and Lam noe sure whether DG's is entirely natural (those ppp strings, for instance). Atany rate, Karajan’ earlier sramophonecouk version sounds more forthright and sometimes more virile, Yet, whatever the reason, Feannot deny that the present representation of his performance made me situp and think that this is altogether out of the ordinary run of recorded performances and the one I want very much to have. TThe Fourth Symphony is generally agreed to be Sibelius at his greatest: but because he makes absolutely no concession to popular sucess in it, itis the least played ofall, Whether this latest reeord will win new friends fori, I don’t know, Ici far and away the best recording just hear how the dlouble-basses tellin the opening bars, while the whole sound is really gorgeous, with exactly the right amount of resonance to bring it alive. The strings have a superb quality, the brass is splendid, and the range ofthis recording is remarkable, The only criticism I would make of what reaches my cars is thatthe timpani ending the seherso are not audible enough. You can just hear them buta listener without score might well not notice they are there. Yet Sibelius follows the preceding pp violins by marking the timpan mp marcato “That's small point; nothing compared with Karajan’s tempo for this movement, which is almost as slow as Ansermee's (and that’s saying something). I eannot sce how alegro molto veace cas be taken to indicate this easy-going treatment, especially as the sxher2o must make the greatest possible contrast to the movements on either side of it. This is why I question whether this record will win new friends forthe music. “This account ofthe Sixth, the most deeply personal (and in some ways elusive) ‘of the symphonies, i the frst to appear in stereo, Although others are promised, this at presenthas the field to itself. Parlier releases in the series have not inspired ‘undivided praises but have left no doubt thatthe view Karsan takes of Sibelius is ‘commanding one even ifsome of the contours we leamed to recognise from the readings of, say, Kajanus and Koussevitaky are not so starkly delineated. Karajan it will lhe remembered, recorded these to symphonies on a Columbia record. The earlier version had much greater body of tone and range as well as impact: the new discs cut at a much lower level but even ‘when suitable adjustment is made, the famous Berlin strings havea pallor and the brass a hollowness that one does not associate with recordings from this source. Fortunately the Seventh Symphony sounds a good deal better. “The performance of No 6 isin many ways eloquent and often impressive though his tempo forthe first movement will nt convince all readers and [am not sure that KARAJAN SPECIAL EDITION it does me. The orchestral playing is ‘peut and the finale is just pushed along litle too urgent Is resolution in the sforiouslyerangil coda i somewhat less Convincing given this view ofthe main body ofthe movement. The Seventh opens exremelypromisngly and apart fom a tenudency to smooth contours here and there, I ound much to admire. The second appearance of the great C major trombone theme and the preparation are magnificent Jnue was litle disappointed by his excessive sweetness inthe Allegro malo smaderata section. However, [would imagine tha for most reader the grotesque bassoon intonation would prove more than tiresome a each repetition. A pty, for this isa spacious and powerful reading ya whole and the great Climaxes are handled with conviction and nobility. None the less the Maazel i the done to have and until his record of No 6 isrelessed, would continue to recommend Collins's plain but serviceable account on Decea Trevor Harvey Seerbe 165 une 966 Robert tayton che" 968) JStrauss, Die Fledermaus Ritastrech 00 Kartbonen 5 Erlenkunzs" Rudolf Christ ror Phitharmonia Chorus and Orchestra / Herbert von Karajan Warner Classics ® 9668442 (10'= AAD) Record 1955 * So soon after 13. reviewing Karajan's live Vienna State Opera recording of Fledermaus from RCA = lively bat with acres of dialogue and inevitably flawed —it has been a special joy to return to this classi set, the aptest of eandidates for EMP’s Great Recordings of the Century. ‘The contrasts between the new CD transfer andl EMI’s previous one may be relatively subtle, but they make a great difference, so that one completely forgets that this is in ‘mono, not stereo. Above all this time the extra sense of presence and space makes for a clearer separation of the voces, well- forward in the manner of EMP’ recordings in the mid-1950s Inhis note, Richard Osborne quotes Schwarzkopf on what Karajan (and her (GRAMOPHONE JULY 2014 29,KARAJAN SPECIAL EDITION husband, Walter Legye, as producer) were seeking to bring out: ‘grit, dash, pep’, That ‘may sound as though the results serious rather than comic, but not atall so, What above all has struck me afresh at this atest, hearing isthe animation of the production. ‘The dialogue isso strongly characterized and so brilliantly acted, with each character so sharply defined, that even the most sderermined non-German-speaker will not only follow but be charmed by it Legge’ editing down of the dialogue was very much part of his concept, alongside the maculae, inspired casting of soloists, e very frst confrontation berween Streich as the parlourmaid, Adele, and Schwrarzkopf as Rosilinde, her mistress, is delicious, with the characters so vividly heightened. So itis throughout the set. One ‘may question the choice of a tenor Orlofsky, but Karajan and Legge were following the example of Max Reinhardt his famous Berlin production of 1929, an Rudolf Christin cabaret style presents a wonderfully convincing portrait of an clfete slightly ipsy nobleman. As for the ‘others, it would be hard to imagine more ‘compelling portraits than these, consistently reflecting Legge’ genius in assembling his team. “The musical performance, like the deft speaking ofthe dialogue, is both poished and exuberant. Itis astonishing what precision Karajan achieves in his moulding of Viennese ruhao, not only from his singers but from the Philharmonia players. The dialogue is tracked separately, but cannot imagine anyone wanting to omit it when itadds so much - very economically in time - to the total joy of the experience. edward Greenfield tobe" 999 R Strauss Alpine Symphony Bern Piharmoni Orchestra / Herbert von Karajan 6.6 429 or7.2cH5 (1-000) Recorded 1980 A magnificent account cof the Alpine Symphony, spacious and noble. This peak has been frequently conquered in the last decade but hardly less gloriously than itis here. The playing of the Berlin Philharmonic (Orchestra is ofthe utmost virwosity and sensitivity and Karajan shapes the score with an umerring sense of proportion. His is the broadest account, too, an impression confirmed by the stop watch, not always a reliable guide in these matters Solti +4°10", 30 GRAMOPHONE JULY 2014 Mehta 48°03", Kempe 49°45" and Karajan 50°51"), Dewi is vividly presented even if in certain passages one might prefer this oF that rival account. The digital recording is very good indeed though it daes not surpass the Decca analogue recording for Solti, which has a more analytical yet thoroughly integrated picture and greater transparency, particularly noticeable in the string textures, ‘The Soli remains the best recording as such and prosluces a less hard tone from the strings above the stave. The perspectives are natural in both recordings as they are in Kempe’s HMV account with the Dresden State Orchestra, though the texcure in this {instance is just a shade more opaque. Yee | like the openness of the Dresden acoustic Which produces a gentler, fresher tone quality in the upper strings ‘Karsjan’s pacing i superbly judged and always seems completely natural. He tackles “The ascent’ without any ofthe headlong. ssh that marks Soli and the Bavarians. The claims of line and expressive detail are carefully balanced: the ‘Elegie’ (ig 100) is particularly good instance ofthis and sounds ‘more impressive here than in any other version I know. Kempe's ‘Calm before the storm’ hasan exceptionally powerful atmosphere and, generally speaking, there is humanity and expressive freedom about his Dresden performance to which itis impossible not to respond, (There isa greater warmth about the recording, t00, ‘even though detail is not so sharply defined.) Among the most impressive and eloquent episodes inthis new performance isthe coda-lke ‘echo’ (fig 134) which hasa wonderful breadth and majesty. ‘Summing up, this new and masterly sccount i arguably the Finest to have appeared in recent years. Although as a recorting, the sound isnot to be preferred to the Soli, the performance has grester power and breadth. Iris not more moving than Kempe’s Dresden account of 1973 but has the same compelling mastery Robert Layton 1/5 R Strauss Don Quixote Hern Concerto No2 "PrerreFournier i= "Glusto Cappone\2"Norbert Hauptmann Bertin Phiharmonic Orchestra Herbert von Karajan 1G 6 457 7252(63"- ADD) Recorded 196561973 With Krauss for Decea (an outstanding interpretation); with Srell for Columbia (where the Don is rather too divorced in acoustic from his squite); and now with Karajan for DG ~ that makes three times Fournier has appeared on records in the role of the Knight of the Lugubrious Countenance, and as always his new impersonation isa subtle and deeply fle The death scene is most affecting. He is placed very forward so that a times even his breathing is audible, but asall the ‘orchestral colour is extraordinarily vivid and the detail amazingly lucid (the interplay of themes in the Introduction has never been ‘clearer this will not cuuse much worry, But itis difficule to maintain perspective when every detail appears in close-up: for example, che bass clarinet in Variation 3 (CSancho's proverb) is almost louder than the solo viola itis supposed to be accompanying; and though the solo violin’s interjections inthe Introduetion are too weak, once we reach the theme the balance has been changed. The sonorityis always rich, but I dislike having my ears walked round the orchestra The stereo placing is effective, spectacularly so in the pissizrt dialogue between Sancho and his master atthe end ‘of the eighth variation and the orchestra's “observance of Strauss’s dynamics is meticulous throughout - the levels of the approach and departure of the procession in ‘Variation 4 are admirably judged, and the notoriously dificult wo final chords are really soft The orchestral playing altogether is most beautiful ~ che F sharp major discourse on chivalry could scarely bbe more opulent and at the risk of seeming invidious I should like to mention the quite ravishing oboe solo at fig 2 TThen why, finaly, do I find myself vaguely unconvinced by this performance? Because, I think, it gives the impression of being too calculated, and ofthe overall view ‘of the work being serificed 0 too self- ‘consciously beautiful shaping ofeach pasage. Oram Ijust being overcritical? Try and hear i for yourselves i's well worth hearing anyway. Lonel salter any 1957 RStrauss ‘Vie letzte Lieder Tod und Vereung Metamorphosen ‘Gundula Jnowit op Bertin Phiharmonic ‘Orchestra Herbert von Karajan DG@ 447 422207 -D00) Recorded 196973, Make no mistake, Karajan’s Tad und Verklirang is quite stunning, [is totally sramoptanecouk‘compelling; more refined, more dramatic and more powerful chan the earlier account he recorded with the Vienna Philharmonic on Decca, superb though, that is, RO rightly sang its praises in reviewing the Serauss tone-poems that DG are currently offering in boxed form. Indeed it seems to me the finest account of this seore committed to dise in recent years and no one who cares about Strauss should Itis tremendously exciting as a performance and rich in beauty of detail The recording is extremely good though not as wide in range or as frm in body’ as Karajan's recent Zarathasra, was tempted to make this a record of the year and include it in ‘Critics’ Choice’ but on comparing it on technical rounds with Reiner's version of the work coupled with Till Eulenspiegel Decca) fete just a shade wanting in range, given the relative dates of the recordings. Of course, the neweomer offers more refined detail but the Reiner, ‘originally made in 1957, is fiemly focused and well-defined: it sounds remarkably vivid for its age. IF Karajan’s Tad und Verklirung may be said to lead the fel, Reiner’s runs it very close and has the advantage of economy Gundula Janowite gives us the Vir erate Liader, a logical coupling in the sense thae ‘Im Abendrot alludes to the tone poem, Her singing has predictable eloquence and beauty of tone, Her interpretation is not as highly characterised a8 Schwarzkop' with the Berlin Radio Symphony Orchestra under Szell, nor does itdispell affectionate memories of Lisa Della Case's seraphie account with the Vienna orchestra under Bohm (Dece Both these artists produce a more defined and purposeful line than does Miss Janowitz though her ereamy tone will ‘undoubtedly give great pleasure to most listeners as indeed it did to me). "The Berlin Philharmonic under Karajan accompany with superb artistry and no Straussian should overlook this release. Stron, ‘which is one of the most striking performances of the work it has been my ly recommenced for the tone-poem nl foreune to hear Robert Layton Doe R Strauss ‘Metamorphosen. Tod und Verklirung Bern Phiharmoni Orchestra Herbert von Karajan 1G 8 410.8922.6"'- DOD) Recorded 1980-82 KARAJAN SPECIAL EDITION ——) a and his fist account of Tad und Verblarong Karajan’ pioneering record with the VPO made in 1947 has only recently been reissued with the Philharmonia Orchestra, recorded in 1953 and previously unissued, comes ina companion box. A year ago DG coupled the ‘wo works together in performances with the BPO made in the mid-1970s and now follow ie with brand new digital recordings. Metamorpbosen has something of ‘the unbearable intensity’ RO recalled from the 1981 Oxford performanc ‘emotional urgency and at times a seemingly quicker pulse (the 1971 version ran to 27°30" as opposed to the 26°11" of the present issue). The sound is marginally ‘more forward and cleaner though I ike the rich ambience ofthe analogue dise. However, this new account is very gripping and involving, and had I not invested in the ‘earlier disc and came to the choice afresh, it ‘would be the present issue that I would make for “The new Tod und Verklirung is not so spectacularly recorded as Doras brightly lit Detroit account (Decea) nor so naturally [GRAMOPHONE JULY 2014 31KARAJAN SPECIAL EDITION spacious and atmospheric as Tennsted's new record with the LPO (EMI) butitis a _preater performance that ether, and to my mind finer than any of Karajan's earlier versions, Indeed, [found it quite electrifying with superb playing from all ‘departments and a life-and-death intensity to the climaxes. Itis more vividly recorded than last time round and, as have indicated, the performance is tauter (25:23 against 27100" in 1974) and more powerful. In both works, it would be dificule to improve on these performances by the _greatest Richard Strauss conductor of the ‘ay and the glorious BPO, and the quality ‘of the recording gives no cause for reproach, A clear first-choice in both works Robert Layton sy 383 R Strauss. Der Rosenkavalier Esabetn Schwarzkopf'soo_—.DieFeldmarschalin Teresa Stic Randal 2mm SOPHIE Eberhard Waechter in-room Final Nicoll Geddaen_—..——-— allan Tenor Phittarmonia Chorus and Orchestra / Herbert ‘von Karajan Warner asses ® ® 9668242 1 = ADD) Recorded 1854 Decea's recording of Der Rosen Twrote when reviewing it in October, 1954, among the greatest achievements of the gramophone and was universally praised for the teamwork between singers, conductor, orchestra, and technicians which produced the superbly integrated performance directed by Erich Kleiber, a worthy memorial to that fine and much lamented conductor. The same teamwork is evident a ll points in the present issue, and the easing ‘of the minor roles has been carried out with the same care, that is with Mahler’ dicum bore in mind, “There are no small parts, there are only small singers’. We find, therefore, artists ofthe ealibre of Ljuba Welitsch (how nice to hear her again on disc) and Nicolai Gedda appearing as Marianne Leitmetzerin (the Duenna) and the Trlian singer respectively. There is no need to argue the merits ofthe two great ‘orchestras concemed, as each of them, under their Austrian conductors, plays superbly. In the women’s major roles Columbia undoubtedly sores over Decea. Maria Reining, a fwouritein the parc of the [32 GRAMOPHONE JULY 2014 ‘Marschalin at Vienna, has her moments, bu the tenuous quality of hee tone, and is tunsteadiness above the stave, are grave handicaps that neither an inteligent, and ‘often sensitive and charming presentation, nor clever engineering, can overcome. Sena Jurinac sang gloriously as Octavian, but Straus wrote the part for a mezzo-soprano, and the true balances upset with soprano in the part, more parcculrly when one fel the freshness and purity of her tone made Reining’s Marschalin sound fr older than she is supposed to be Ie may be remembered that Sehwarekopf as Sophie and Sccfrcd as Octavian recorded the Presentation Seene some yeas ago, and, lovely though the sound was, I missed the warmer tones a mezzo-soprano can bring to thelower phrases. Teould scarcely believe that Christ Ludwig was the sme singer swhor I ast heard a rather Inckadsisical Dorabella in Decea's Cx fn te. Here, singing beauflly, she isthe ardent and inspulsive young Octavian tothe lif, and fall of tendemess in her scenes with Sophie, She is also more amusing than Jurinae when impersonating the handimaid. As compared to Teresa Stitch-Randhl, Dec's Hilde ‘Gueden certainly sounds too mature and doesnot wholly avoid giving the impression ‘that Sophie isa bit mins, instead of a realy unsophisieated young gel. Stitch- Randall's more finely poised and very pare high notes are invaluable inher part though they are sometimes too white, a danger she ‘must avoid. In all the ducts both ofthese singers are admirable. ‘Onto Edelmann is splendid and fall blooded Ochs, iless ripe and mature than Ludwig Weber's wonderful characterisation, and he never overplays the pat. He is ess consistent in his provincial accent than Weber, who made the most ofthis entertaining feature of his part. There i nothing to choose between ‘Gealda's and Dermota's singing of the Tealian Ava, both of them are very goo, andthe same is true ofthe other small part singers, though both the Aninas could have ‘been more conspiratorial ‘We come to the Marschllin. Elisabeth Schyvarekopt has obsiosly made a profound study of her pati will count amongst the fines things she has done, and may well be the Finest. Sometimes I felt her vocal acting swasalitele too studied, a for example —a small point atthe words “der Here Graf ‘weiss ohne ihn’ (Tis enough, the Count will lenow) as she sends the litle boy off with the jewel eae at the end of Act 1. Would a _great lady betray so much emotion in hee voice before even so smalls domestic? More serious is her treatment ofthe famous phrase Teh weis auch nix Garni CAnd L know nothing. Nothing’ just before the beautifully sung Trio, Seraus's directions forthe singing of these phrases are ‘with an ennigmatical expression, softly” and, for "Garmin, ‘quite toneless. Miss Schwarzkopf, perhaps badly served here by the ‘microphone, sounds cavernous on that fast sword, and not wholly convincing before. AS against this—to take one instance only out ‘of many-~ how subtly she deals with the phrase telling the Baron, after his Aliscomiture in Aet 3, that he must renounce forever his great alliance with Sophie. As she reaches the last words, st rit dieser Seund vorbei’ (sat this moment past’) she puts such pathos into her tone that ‘one knows she is thinking of what she has herself renounced. The two ‘monologues’, the melancholy that envelopes the Marschallin after the fist ofthese, are most beautifully dene, and Tean best sum up the effec of her performance ~ since it is impossible to go into detail here by saying that drew tears from me more than once. Octavian may not have been her last lover, bout atthe moment one fels, Marie ‘Therese’ world isin ruins. Karajan’ treatment of the scores is perhaps less emotional than Kleiber's—1 wish e had not emphasised, in the Prelude, ‘one of Strauss’s grossest errors of taste, the ‘whooping horns passage ~ but is ull of beautifully wrought detail, abundant vitality and sensitivity, He takes the Trio very slowly, but I mast confess I liked this extremely reflective handling oft, and judging by the resule the singers must have rejoiced in it, Mec Robertson Deemer 157 R Strauss, Salome HiegardBehrenssoo Salome KartWatter Bohm =r. Herod Agnes Balsa) Herodias ‘Wiestw Ocha on Narraboth 4026 Van Dat innnn nem Hela Anger 050) Page ules Bastin en Plat Nazarene Dieterllenbeck "Second Nazarene Gerd Nenstedt ios ist Solder Kur Ry 255 nennn nee SeCON Sole Helge von Bomches oss. -—--Cappadecin Horst NBC nme SHOVE ‘Vienna Philharmonic rchestra/ Herbert von Karajan Warner asics @ 2 9668222 005 + ADD) Recorded 977 This isa ravishingly Deautifil se, providing a thick carpet of sound: to have one thinking sramophanecouk‘of this as the longest and most seductive of Strauss symphonic poems. That comment alone implies what many will in any ease ‘expect: thatthe conductor is paramount. It ‘was he who at the Salzburg Festival last ‘year not only conducted performances with ‘the same cast as here but als (ass his ‘custom at Salzburg) supervised the production, It is a marvellously consistent nd single-minded concept of Straus's ‘opera and from first to last sensuous beauty is the keynote, The earlier Leinsdorf set of this opera (RCA) had Montserrat Caballé as the heroine and the same prima donna has recently recorded the final scene with Bernstein (DG), but in vocal richness and sheer ripeness of sensuality Hildegard Behrens outshines even that example, and ‘when one comes to comparing this performance withthe clasie Decca one of Birgit Nilsson with Solti and the same ‘orchestra as here, the contrast could hardly be clearer. That contrat is firmly underlined by the difference of recorded sound, and there, Isuspect, more than anywhere the ‘new set will divide opinion. At least one ‘ean say that the sound on the new set is ‘exactly consistent with Karajan's reading ‘Where recent Karajan opera sets (and for ‘that matter orchestral issues too) have ‘come to betray excessive reliance on multi-channel techniques, with the separate strands sometimes standing out 100 clearly, this Vienna recording - made with the help of Decea engineers — has, 25 I say, a rich earpet of sound. Even the voice of Salome is often sunk into the ‘opulent texture, with syllables and even ‘whole words submerged in exactly the way ‘one finds inthe theatre. The hi-fi man who wants to be able to reproduce the whole texture of the score in his mind from what he heats will be deeply disappointed, but particularly if one follows the score, I would far rather have ‘this consistent opulence than obviously synthetic balances. But going from one set to the other certainly brings out what a spectacular achievement John Culshaw’s sonic production was back in 1961, using as itdid multi-studio technique for such ‘effects as John the Baptists voice from the cistern. Asithappens, however, the contribution ‘of Jokanaan, José van Dam on the new set against Eberhard Waeehter, isa point on which I would decisively favour the new set. Ikis largely a question ofthe noble tone- ‘colours which van Dam produces, beautifully reproduced, so that exch time his voice enters in the opening scenes, just ‘offstage, not distant, one registers the diatonic Frmness of the writing, so sharply sramophonecouk contrasted withthe chromatic sophistication ofthe rest. This, one feels, cach ime, i the rue voice ofa holy man, and the Sea of Galilee sos adiantly beutiful parallel ~ which may pechaps seem inconsistent buts not ~ is with some ofthe musie given to Mandryka in Strauss Aral, the simple folktheres representing honesty and good ina complex emotional world. When it comes othe contrasts between Hildegard Behrens and Birgt Nilsson, in broad outline they ae exactly as Lhad expected, remembering Miss Behrens's superb performance on stage. Where fom the stare Nilsson tends to represent the picture of eruel determination, however Ihautiflyshe shades down her sharply focused voice, Miss Behrens is seductively Inlevable as the young gl in love with sensuality. The delicacy and precision of hersinging area consent delight as well as the ereamy richness in warmly ical passages A the startin this view Salome is 2 glamorous, sparingly atractve figure, and tothe end, even in her degradation, she jsno back ilainess but one carried away bya supreme sensual obsession, with no feeling of harming anyone, merely of satisfying herself The problem in taking this view lies in aking believable the heroine's insistence ‘on having the head of John the Baptist, something which seems to come quite naturally to a Salome of the Nilsson stamp. Behrens's approach is closely thought out. The lightness and delicacy of her first chrow-away statement Den Kopf des Jokanaanis delectable, the casual statement ofa flippant young girl, and as i grovs harder with each repetition, so Bhirens puts erulty into the last wo syllables ofthe name, draining the voiee ofits beautiful tone and turning it into a Snat. The final scene returns us to beauty of tone, and though the result ‘magnificent, a fitting climax, itis there that the Nilsson/Solti approach coupled with Decea sound reaps enormous dividends in incisiveness, bringing with it scalp-tingling horror. With Nilsson one docs not have to remind oneself of the sickening depravity ofthe final scene: with Behrens ie becomes simply the gol of Just, and one is horrified fr less. ‘Clearly theres room for both views, and 1 should be interested to know which the composer himself would have preferred. sospect that for many the more sharply defined view of Solt and Nilson will have first claim, and certainly in recording terms ieremains a unique achievernen, one in which the best is last. would have ‘welcomed rather more sharply analytical KARAJAN SPECIAL EDITION sound in the new HMY, but is range and depth are thrilling, not least with the ‘impani, asin the running ostinato just before the head of John the Baptists. brought from the cistern on is salve, Karajan’s cas, as at Salzburg, is superb, \with tar names even among the groups of Jews, Nazarenes and Soldiers. Thave slready mentioned van Dam’s splendid Jokanaan, never more noble than in his curse of Salome, and Karl-Walter Bolan gives an equally vivid portrait of Herod, a ‘weak, even silly man, who is never made ‘merely comie and whose predicament remains understandable, Agnes Baltsa, t00, equally helped by stage experience with this cast is a superb Herodias, and though ‘Wieslaw Ochman as Narraboth produces some grainy tone (not east in the very ‘opening phrase of the opera) his place in the picture i elear and convincing. ‘This may not be quite the cassie Strauss ‘opera set which in ts time Karajan’s Philharmonia recording of Der Resenkvalier was (10/71) but equally itis a reading which no one from now on will be able to ignore, with its overpowering warmth of expression, its sensuous texturing and not east the superb playing of the Vienna Philharmonic. award Greenfield September 978 Tchaikovsky Symphonies Nos 6 Vin Concerto ind, Op 35: Pano Concerto No in fat min Op 23182 Overture, Op 42. Capricoitaen Op 4 Eugene ‘Onegin Polonaise Waltz Marche slave, Op 1. TheNutracker-Suite, Op 7: Romeo and et Foriasy Overture Serenade. Op 48, The Sleeping Beaty Suite Swan ake- Sut. Variations ona Rococo Theme, Op" “Christin eras, Michel Scab Malay Rostropovich Sats iter /Bein Phiharmoni Orchestra Venna Symphony Orchestra Herbert von arian 196 @ 463722688 BH ADDIODO) facie 196260 Karajan was n tunguestionably a great, ESE. Tehaikovsky conductor. Yet although he recorded the ls three Symphonies many times, he did not tum the first three until the end of the 1970s, and then proved an oustanding advocate. Tn the Mendelssohnian opening movement ofthe Fist, the tempo may be brisk, but the musi’ fll charm is displayed and the relancholyof the dans isouchingly caught. Again a the opening ofthe ite Russian (No 2), hor and bassoon eapeure [GRAMOPHONE JULY 2014 23KARAJAN SPECIAL EDITION that special Russian colouring, a they do in the engaging Andemtno marsile, and the crisp articulation in the rsemovement Allegro s bracing. The ser refinement of the orchestral playing in the cero ofall three symphonies isa delight, and finales have great zest with splenlid bite and precision in the fugato passages and a ‘convincing closing perortion. ‘The Poi Symphony (No 3) the last tractable ofthe canon but again Karajan's apt rempi and the precision of ensemble make the first movement a resounding sucoess The lle ede brings aint of Brahms, but the Slave dolour of che Andante elegac is anmiseakeble and its ‘climax blooms ripturovsly. No doubs the reason these early symphonies sound so fresh is because the Berlin orchestra was not ‘over-fuiliar with them and clearly enjoyed playing them. The sound throughout is excellent. Ie gets noticeably fierer inthe Fourth Symphony, recorded a decade carlir, buts sll well balanced. The fst movement has a compulsive forwaed thrust and the breakneck finale is viseraly thrilling. The slow movement is beautifully played but just wil bland. Overall, though this is impressive and satisying, ‘specalythe riveting cose DDG has chosen the 1965 recording of the Filth rather than the mid" version, and was righ to do so. Ie’ marvelously recorded Gin the Jesus= (Christs-Kirche): th sound bas all he richness and depth one could ask and the performance too is one of Karajan’ very finest. There's some indulgence of the secons-subject string melody of the fist movement. But the slow movement sloriowsy played from the horn solo ‘onward, ad the second re-entry ofthe Fate theme i so dramatic that i almost snakes one jump. The delightful Wale brings the kind of elegant warmth and detail from the violins that's BPO. speciality, and the final, while not rushed Mravinsky-fashion, sil aries all before it and has power and dignity at the close “The Pathitique was a very special work for Karajan a twas forthe Belin Philharmoni) and his 1964 performance is one ofhis greatest recordings. The reading asa whole avoids hysteri, yet che resolution ofthe passionate climax ofthe first movement sends shivers down the spine, while the finale as a comparable cloguence, andl the Mareh/Scherso, with ensemble wonderfully rsp and biting, brings an almost demonie power tothe coda, Again the sound is excellene, fll boc in the strings and with plenty of sonority fr the trombones [34 GRAMOPHONE JULY 2014 “The String Serenade is digital, brightly recorded in the Philharmonie in 1980, but ‘naturally balanced, Marvellous playing. The Wale, with a mos felicitous control of ‘rubao, is the highlight, and the Elége is certainly ardent; and ifthe first movernent ‘could have been more neatly articulated, the finale has tremendous bustle and ‘energy. As for the oncertante works, the account of the glorious Rawo Variations ‘with Rostropovich is another classi of the gramophone, even though it uses the truncated score. The First Piano Concerto is disappointment, with Richter and Karajan failing to strike sparks as a pparmership. In spite of brillant solo playing, the first movement lacks supporting tension in the orchestra and in ‘the finale you can sense Richter wanting to press forward, while Karajan seems to hold ‘back: the coda itselFhangs fire in the ‘orchestra, Similaely Ferras was not an ideal choice for the Violin Concerta, Not al wil take to his somewhat febrile timbre, with its year-schmaltz, Bur the performance asa whole works better than the Piano Concerto, Romeo and Julie's finely done, passionate and dramatic, if not quite 9 spontaneously inspired as Karajan’ early VPO version for Decea, especially at the opening. But Marche save, ideally paced, is very successful, sombre and exciting by turns. Capriccio italien and 1812 are both brilliantly played, andthe triptych of ballet suites can be recommended almost without reservation, with the Sleeping Beraty suite ‘memorable for some very exciting climaxes, Even with the reservations about the two concertos, tis bargain box is fine investment, and certainly value for money. ‘The documentation is excellent an March De. stress Quickly Philharmonia Chorus and Orchestra Herbert von Karajan Warner Casis 8) @ 948199-2 C17 DOD) Recorded 856 There isno need to waste any space on comparing the (wo available reeordings of Falsaffas such, forthe new one is incomparably the better, and indeed is superlatively good in every respect. With regard to the performances, taken as a ‘whole, Karajan seems to me to yield litle or nothing to Toscanini in perfection of detail, and the orchestral plying is even finer: but the conception of the chief character in cach case docs lend itself to comparison, Toscanini got all he could from an artist, Giuseppe Valdengo, obviously out ofhis range and only really comfortable in the Iyrical passages of his pare, whereas Gobbi, avborn actor, has a deeply thought out ‘conception of the nature and character of Falstaff and lacks only more ample vocal resources to realise i to the full This is ‘only really apparent, so much is the singer sramophanecoukinside his par, in the ‘Honour’ monologue in the fist scene, which needs more sheer vocal power than he ean command, But ‘even so he never ceases to be Falstaff and he adds a wealth of nuances and litle touches that bring the fat knight vividly before us. ‘Thisis without doubt a great performance. Gobbi’ idea of Fastaf seems to be very much in aceord with Elgar's eis not the Falstaff of The Merry Wives of Windsor so much as of the Henry IV plays. “You see,” Elgar said, ‘there isn'ta word to be said for the buffoon idea. A knight, a gentleman and soldier. That's it? “The way Gobbi treats a passage in the first scene of Act 3, in which, after the wash basket episode, Falseaff reviles the world, is most striking and recalls to me Sir Ralph Richardson's acting ofthe scene in Henry IV, Part 2 (Ace ? seene 4), when Doll ‘Tearsheet frightens Fastain speaking of Heaven: ‘Peace (good Doll) do not speak like a Deathshead: do not bid me remember ‘mine end’, These words Richardson spoke in the same hushed, fearful way with which Gobbi sings, sto ve, ‘Twas too portly. My beard is turing grey’. The shadow passes ina moment, in both play and opera, and Falstaffis his old careless self again, ‘Gobbi excels in this scene, and his singing of Quand? ero paggio’in the second part of Act 2, finely calculated, is another outstanding feature ofa grand and rich performance on which one could ‘comment endlessly. Rolando Panerai isan excellent Ford, but he does not boil and rage quite as effectively as Frank Guarrera did and, as has been pointed out elsewhere, his voice resembles ‘Gobbi’ rather closely = though I do not think cis will really present much difficulty 1 the listener: Elisabeth Schwarckop's beautifully phrased and sung Alice is inevitably non- Italian in style~ one soon gets used to that and presents a more refined character ‘than is depicted by brighter-toned native singers ofthe part: and perhaps this scene is atte lacking in the spontaneous animation, ‘that is best conveyed in the Cetra recording = but only this scene, Nan Merriman repeats, with a greater ease of manner, her admirable performance of Meg and Fedora Barbier, though she over-plays the comedy. in her scene with Falstaff, isa satisfiewry Dame Quiekly, Chloe Elmo, however, was ‘better in this pare, Feannot praise too highly Anna Moffo and Luigi Ale as the young lovers. Both are real finds and sing their exquisite musie with lovely tone and ‘enviable breath control. Karajan gives them ‘more latitude than Toscanini allowed and takes Fenton's solo in the last act much ‘more slowly, as also does Ross in the Cetra sramophonecouk recording, The result is most rewarding. Miss Moffo, Lam glad to say, avoids pertness and her young, fresh voice gives an almost unearthly beauty to her third act aria, ‘Sui fil d'un sofio etesio’, which is just hat is needed, The distant effects in the Nanerta-Fenton duet are well engineered and other such things are taken good care of, cremains to praise the characterisation and singing ofthe three artists who pay the scruffy followers of Falstaff and to ‘commend also the chorus ‘The ensembles ate splendidly managed and none more so than the grand concluding fugue, ‘Jesting is man’s vocation’, which, unlike Emest Newman, 1 do not find ionic, I shall continue to cherish the Toscanini recording for his superb, more earthy, handling of the ‘miraculous score, and for many other good things in it; bt a a vocal and orchestral performance thats completely satisfying at almost all points and a recording that is duite outstanding, the new issue will find a very honourable place beside it, ‘lec Robertson Nish 957 Verdi itrovatore MariaCatas sop. Giuseppe distetano Rolando Panera. Fedora Barbet 2 ann Nicola Zaccata non usa Vila. Renato cola 2a Glo Mar nnn O14 GYPSY (Chorusand Orchestra facta Milan / Herbert von Karajan Warner Classics ® 6407732 (00'+ ADD) Recorded 1956 ‘The lining up of eas of singers for these ‘Vert issues ought in a ‘way to simplify criticism, Ie is as if we had three well tried ‘opera companies in town a the same ‘moment. Atthe FMV theatre i will be ‘Mme Milanov and Bjérling, with Leonard ‘Warren; atthe Decca, Mme Tebald and Signor Del Monaco will be airing the grief ‘of Leonora and her troubadour, while most recent of all, the Columbia outfit stages ‘Mme Callas and Signor Di Stefano in the same roles, By now, one might suppose, everyone oughly knows how he or she stands in respect ofthese leading artists, Iti only when a reviewer like mysel fails to recapitulate in detail all the virtues and failings of these long-established lending KARAJAN SPECIAL EDITION {interpreters that one realises that angey pens ae being held over inkpots ready to denounce any such shortcomings. For the reasonably initiated, however, I must say that this Trvtore set seems to me very much what you might expect it to be from the label. Di Stefano, who sings so well in Irie roles is not the ideal robust for Manico and if what you want above all isa stupendous ‘Di quella pira, then Del ‘Monaco on Deeea is your man: if you want 1 genuinely heroic Manrico with a bit more Finesse, then Bjdrling on HMV is the choiee. But Di Stefano sings musically, ‘without any faltering or that clumsiness ‘which in actual performance nowadays seems almost inescapable, His ‘Mal reggendo'and the whole of the second scene with Azucena are well managed and pleasing. In the opening passages of the prison scene he is perhaps less affecting ‘than Bjorling; his production is rather metallic and the caressing and cajoling tones appropriate to llling a mother to sleep do not come easily. As to the rest, Signor Di Stefano isin his usual form; alert, reasonably tuneful and cutting a strong and ‘on the whole pleasing line. Whether he is your idea of a Manrico must remain a personal choice. Mme Barbieri sounds very ‘much the same as on HMV, where she fills the same role, slightly better in detail here and there and enjoying a more vivid recording. This beefy and energetic Azucena is less coarse and chesty than the fone the singer-preferred at Covent Garden earlier in the yea, but the show-stopping clements (which infact brought doven chat easly satisfied house) are truly recaptured. I don’t think there should be many ‘complaints, though it is far rom rating as pare bel cao The role of Leonora is one in which I hhave much admired Mme Callas, Her assumption is that ofa great lady, as it should be; and in the two big arias Thave heard her phrase the muse ikea virtuoso violinist with a mastery which marked her off from most other Leonoras ofthe ‘common sort. Most of that grandeur is evident inthis recording. But to enjoy Mme Callas you have to like her in the frst place, Ifyou can accept that half closed throat and the occasional curdling skrls and the sagging beat on the top notes, al wil seem magical. She again brings tothe most hackneyed musica gift of recreating itas if itwere being sung for the firs time. She feels the sense of words (as, for example, neither Tebaldi nor Milanow seem to sense them at all, On the other hand, considered froma purely tonal angle, the purely sensuous side of her singing offers litle here to compare to the ravishing sounds [GRAMOPHONE JULY 2014 37KARAJAN SPECIAL EDITION which isue from the Leonoras of Tebaldi {Gn “Tacea 1a notte’) or Mme Milanov in the introduction to D’amor sulla, But the actual spanning and placing ofthe phrases are lovely and inthe rapid and difficul caballeta to the former aria Mme Callas, who is far more nippy with her shakes and grappett, hough sticking to a fairly safe pace, shows up as a much more practised coloratura singer than either of her rivals, In the scene with the count ‘which comes after the Miserere, Mme Callas is altogether astonishing in her realisation of the drama in her dynamic phrasing, making her rivals sound merely like also rans in a steeple chase. ‘Mira d'acerbe lagrime’ and the vengefal glee of ‘Vivra! Contend il giubio’ are perfecly in character. Altogether, provided vou like ‘Mme Callas's strange voeal production, you are likely to forget the other two ‘complete’ Leonoras. Only in one place does she a litee disappoint me; that is her moment of amazement in the Convent scene, E deggio “ec posso crederlo?, not neatly as thing as expected. But the working up of the ‘ensemble thereafter is exceptionally clear in this new issue. Indeed I do not recall a Travatore in which so many of the words ‘eame through so clearly ‘The baritone, Panerai, is better all round than Savarese on Decca, and slightly more authentic than Leonard Warren, besides sounding more in character most ofthe time, There are a few dubious passages of uncertain intonation. But his is an ample, warm and largely well used voice witha sense of style which does not jib at ll balen’, though one can hardly eal this be amo performance either. Without any malice 1 should describe Panerai asa baritone ‘whom one should get to know first in the theatre, where he has lot of presence, large eyes and general allure of generosity. He is well up to measuee in this isve and the minor parts, such as Ferrando, are unusually good. For an Italian chorus, the ‘ensemble is very creditable, ‘What I said about the eleamess of the ‘words refleets credit of course, on the recording, which isa very good jab and noticeably an improvement on MV's Trrcatore, which in 1954 itself sounded so ‘wonderflly lifelike. But what of Herbert von Karsjan’s handling of the score asa ‘whole? Well, I find it superior co Erede (Decca), who sounds laggard and cautious by comparison. But the excitements are not always ofa very Verdian kind and Karajan ‘often seems to drive the singers without at the same time achieving that justifiable rightness that we associate with Toscanin's Verdi, Cellini in the HMV did one oF two 38 GRAMOPHONE JULY 2014 ‘questionable things, but Karan often whips up the tempo in a way whieh seems to have ‘no warrant inthe score othe nature ofthe ‘music, 3s if he simply fele chat here was a place where the orchestra might aswell assert itself, Equally some ofthe rallentandes sound, not navural, but grudgingly ‘exaggerated, as fa concession to an absurd fashion, There ae few untidy passages, Superficially a least itis a ‘hoe’ performance nd I don't expect most listeners to share my reserve inthis matter of the true Verdian style not being achieved. In sum, then, a Trvvatar of davalingly clear words and vivid singing, with something especially haunting about Mme CCallas's strange Leonora and stirring if not absolutely convineing conductorship. Not the last word, and not an easy winner over the four-year-old HIMV set, buta decided advance. Philp HopeWallace (57) Verdi ‘Overtures and Preludes Nabucco: Eman | Masnatier: Macbeth Corsaro: La battag di Legnano: Luisa Miler Rigoletto; La Teavia ‘esp sicllan: Un balloin maschera: La forza dl esting Aida ‘Bertin Philharmonic Orchestra /Herbert von earajan 06 @ 419 6222077'-ADD) Recorded 19757 In one respect this issue is fascinating, in another infuriating. Ieis enjoyable and instructive to hear Verdi's steady development of his art through the works ‘to which he wrote introductions, but so ‘many beginnings without middles and ends + follow them i, ifthe items are played ‘one after the other, an inartstic procedure, another unfortunate product ofthe record industry's desire for spurious completeness “The pieces divide decisively into the full scale overtures of which those to Arad should be heard more often), Vepri and Forza are undoubtedly the most impressive, and the atmosphere preludes, which se the scene for the ensuing action, and inthe ‘theatre are more satisfying introductions to the operas concemed, Besides the familiar tlories ofthe Trine, Rigelrto and Ballo piees, I particularly enjoyed the marvellous Prelude to il, with its strange, yearning ‘harmonies followed by dramatically bold gestures, enough to set you up for the excitements to come, and the moving cello solo (written for Pia inthe pit of Fler Mies’ in London) that is substantially the Prelude to J Masnadir, Indeed, even earlier, the orchestration in the overtures for Olerto, Verdi's frst opera, and Giovanna dlr, both ‘ore in the nature of Preludes, are ‘unmistakably Verdi, the tro of fate, clarinet and oboe inthe latter heing one of the most affecting passages in all these scores. Forall that, stolen from their context and heard at home, the big overtures make beter sense and are less tantalizing. Karsjan and the Berlin Philharmonic predictably play them forall they are worth, andl Sometimes just abit more. Too often Karajan allows the brass and percussion ther head, and over-emphasizes effets that are blatant enough on their own account without any underlining from conductor and orchestra. That is particulary true of the Overture to Battaglia di Lagnane, not one ‘of Verdi's mest winning pieces in any case, bbut here done with the fide element inthe susie constantly too forceful. The start of the Corsi Overture is another instance ~ it sounds much more effective, less obviows in the complete Philips set ust issued and what an extraordinary beginning itis. On the other hand, the many solo passages could hardly be done with more sensitivity than by the Berlin orchestra's section leaders, the aforementioned cello being an eloquent instance, and Karajan is always aware ofthe dramatic import of che pieces, resisting his ‘sual inclination to linger too lovingly over detail, My only regret is that he did not choose to include the Prelude to the frst version of Simon Baccamagra. "The sound is as brilliant as the performances and follows them in being ‘more lavish than anything you would hear inthe theatre. Alan Blyth st 995 Verdi Messada Reauiem Leontyne rice op Forenza Cossttone? Luciano Pavarotts> Mola Ghisuroy = Chonusand Orchestra LaSeala Milan Herbert vonKarajan dso drs Hen Georges Cousot 0G © $2 O73 AOSEGH (“NTSC 43 «PEM stereo and DTS51-0+=) Recorded 1967 ‘This performance, hough originally filmed by Clowzot at La Seala in 1967, fist appeared on Laserdise (remember that format?) only 11 years ago. when I received it with a deal of enthusiasm, Its transfer to DVD is very welcome, though Ihave to say that in terms of picture quality (a bithazy) and sound (restricted in range) itis beginning to show its age, The interpretation itself remains sramoptanecoukcleetifying, easily Karajan’s most successful reading in any medium. ‘That is largely Ibecause he had here Islan, rather than Austro-German forees, and because ~ for some reason —he conducts the work more tautly, closer to Verdi's metronome ‘markings than on any of his audio versions. From star to finish the work moves in a single are of musical cohesion and ‘emotional tension, with the Italian chorus and orchestra singing and playing their hearts out for their distinguished conductor. The former's timbre has an Italian depth and bite only native singers seem able to provide and the strings truly sing their masie, Then today you simply could not equal ‘the voeal splendour and technical command ‘of the superbly accomplished soloists. Leontyne Price, then a the peak of her powers, sings with a confidence tempered by Feeling thac is truly amazing, rising 0 histrionic heights in ‘Libers me’ and CCossott is only a mite behind her in both respects her chest register and high notes astonishingly rich Feis odd that both women have their pats by heare while the men remain attached to their scores, Indeed the slightly reticent, youthful Pavarotti hardly recognisable as his ater, effsive incarnation. Hee sings with the fidelity of ine and tone, an ‘ease of projection that marked all his early work. Ghiaurov isa bass soloist ro die for, both in terms of his Rolls-Royce ofa voice and the tremendous authority and emotional force he gives his part. Clouzor's role in the proceedings now seems a trifle arbitrary, especially his over- ‘concentration on Karajan: often when we ‘want to see the singers the cameras are focused on the conductor (maybe Karajan demanded that atention) and the restless, ceamera-work sometimes leaves one sorry that there wasn’t an audience present to restrie the movement. Then there isa horribly abrupt end to the whole film. Sell, as a historic document of what a great performance of this work in dhe mid-20th ‘century could be like, this is invaluable, {quite apare from its musical virtues. Alan Blytheco 2001 Wagner Die Meistrsinger von Nirnibers ‘Theo Adam 5 Kart Ridderbuseh == Eberhard Biche Horst un0W 5 -—o-—Kumnz Vogelgesang oo Konrad Nachtigall_ Geraint Evang 9 _ Sts Beckmesser Zoltan Kelemen > Fritz Kothner Hans-Joachim Rotzsch ws Balthaser Zorn Peter Binds2us00 rien Eistinger DresdenState Opera Chorus Staatskapelle Dresden/ Herbert von Karajan sramophonecouk Warner Classics ® @ 6407882 (4h5'+DD0) Recorded 170 Die Meitersinger von Naraberg sa hymn of love tall hati good and great in the German people and in German art—and beyond that, tal thac is warm and wise in human nature, to young love and ripe experienc, revolutionary ardour and nature tolerance: an opera which ‘compasses and celebrates the diversity and richness of are and of life. Peter Branseombe, in an essay which accompanies the new recording, quotes the ‘opinions of evo great Wagnerians. Thomas ‘Mann called Die Meinersinger a poem in ‘which wisdom and boldness, the worthy andthe revolutionary, tradition and the forure, are werlded in a manner thats at ‘once grandly joyous and ata deeper level awakens enthusiasm for life and ae. Bernacd Shaw called it‘ treasure of everything lovely and happy in musi’. 1ET ‘ould hear only one oper fr the rest of tay life, it would have tobe Die Meitersiger, an so if T were sent v0 Siberia with only one record album, it ‘would be the llr here reviewed Hearing thas been a joy, a profound and roving experience. I love this opera so dearly that emotion tend to swamp that activity which Colin Davis stgmatizes as “indulgence of eiial faculties’. Again and again as Ilstened, the notes ofthe printed score grew blurred and misty. Bu loves not always blind, nor deat: Deals wil be ‘itcized, The performance as a whole is profoundly beauiul a noble, heart- Stirring achievement ‘Wagner sketched the scenario for Die _Meistersinger in 1845, when he was 32. In 1849, while the Ring drama was aking shape, he expounded a socials view of art in his manifesto Art and Revolution the art- work ofthe future, he declared, s incended to express the spirit of free people irrespective of national boundaries; the rational clement in it must be no more than an ornament, an added individual charm, nota confining boundary’. For hs socialist views and acts Wagner was ‘compelled to fee Dresden. The new reeoring was made there, and inevitably the emotion of listencr with a feeling for history, for Stade-and WVlesbronk and of @ listence who knows that still-heautifl city, are thereby heightened. Ris, Tbe Phing Dutchman and Tonnbinser were al st performed in Dresden. Today the city part phoenis, part shattered, ashatering KARAJAN SPECIAL EDITION memorial ofthe night of February 13, 10945. In the Dresden raids some 135,000 people, most of dhem civilians, were lled, and a city chat was the Hower of European civilisation was smashed. OF course the ‘Walun' monlogue must make a more than usually overwhelming effect! Such reflections may proceed from an extra= ‘musical stimulus, bu they are not irrelevant to the work; reflections on ‘mankind's mad destructiveness and inhumanity are the matter of the passages ‘but so are refletions on mankind's humanity an joyful creative power. Farther speculation, on life in 3 Dresden which today has embraced a form of the creed that Wagner once preached there, and on the price which, in the way of individual liberty, has had tobe paid, ‘would be inappropriate in these pages but inevitably they are essed by this performance, ofthis particular work, made in these circumstances, EML and Deutsche Schalllaten of East Germany have collaborated in the production; the artists hhave been drawn from both the Democratic andthe Federal Republics. Let usnot labour the poin, an find symbolism in the participation of a British and an American soloist (hey were no doube chosen because Karsan thought them che best possible performers for their role). Enough to say that the performance, Tike the work, represents what i good and great both in German and univers culere “The frst complete recordings of Die _Meistersingr were made 20 years ago: 68 sides (ater reisued om five LPs) which ‘aught Karajan’s Bayreuth performance of 191, on Columbia; and from Deca, in Vienna, Act2 among the calest LPs shordy followed by Aets 1 and 3, and brought together on six LPs, conducted by Knappertsbusch, The Columbia, notable ove al for Elisabeth Schwarzkopts radiant Eva, survives on the American Seraphim lael. The Decca, notable above all for Paul Schffer’s Sachs, s now reissued om bargain label, as noted above. Both of these ses sill ave a valued place ‘on miy shelves. In 1958 chere appeared the HMV album under Kempe, better recorded than either of ts predecessors not pethaps as great as they were in their greatest moments, but more consistently Succes and staying than either, this Set is also reissue at bargain price. The fis stereo version was made a the re-opening of the Munich Opera in 1963: performance under Keilberth which could rot compare with Kempe’, bt which had, as AR noted, a splendid Walther in Jess Thomas. (GRAMOPHONE JULY 2014 39,KARAJAN SPECIAL EDITION No performance of Die Meistersinger can bring together all one's glorious memories: say Schwarzkop®s Eva, Frich Kunz’s Beckmesser, Ludwig Weber's Pogner, 8 Sachs in whom the noble poetry of Hans Hotter is tempered by Schofler's drier wisdom, and rendered in the steady beautiful tones of Theo Adam; a David swith Gerhard Unger’ fresh, lively charm and Peter Schreier's beatiful timbres a ‘great orchestra and chorus; a great ‘conductor; and the finest, fullest modern recording. The recorded Meistersinger of ‘one's dreams i something to be dreamt about. Yet perfection seems not too strong 4 word for some aspects of the new performance. The orchestra ~ the sound of the orchestra a itis heard from these records ~ the Dresden Staatskapelle a5 it plays here for Karajan..rom first to last the beauty and eloquence are unfailing. *L ‘could not have written the seore of Lobengrin,’ Wagner once declared, ‘had 1 not hear! the brilliance of the Dresden violins, nor any of my’later works had I not remembered the moving, melodious smoothness of the woodwind and the sonorous power of the brass’, On its 300th anniversary he deseribed the Dreslen Staatskapelle as ‘the Fatherland’s most precious and perfect institution’. No superlatives are too strong for the ‘orchestra's contribution to this performance. The start is grand, warm and steady; the love musi is Iyrieal the apprentices’ musie brings forward the lively woodwind (and later, Karajan gives an irresistible lle to thei singing). The score ‘of Die Meistersingers filled with heart- stopping instrumental solos; I could spend pages listing them all, and deseribing their superlative execution: the string sections, individually and asa group, over and over again (the third-act prelude is heart- breaking); a marvellous solid C pedal from the double-basses in Act 1, asthe ‘congregation disperses; oboe, clarinet, horn; brass which i frm, brilliant where necessary, never needlessly vehement. In justice, the programme-book should really have listed the players’ names, as the Covent Garden programmes do, In short, the Dresden Staatskapelle seems to be the ideal orchestra for this score, warm but not effusive, full-toned without being over- _lossy, homogeneous, eloquent in solo without affectation oF that self ‘congratulatory quality which sometimes mars virtuoso orchestral playing. Karajan’s contribution and that of the German and English engineers must of ‘course he linked inseparably with al ths ‘The recorded sound is luminous. One ean hear everything, hear i in ideal balance 40 GRAMOPHONE JULY 2018 and perspective, without any artificial “goon effect on individual instruments, just one regret: that Karajan did not place first violins on his left, the seconds on his tight, instead of massing them all together. ‘The choir ~ the united choruses ofthe Dresden and Leipzig Operas —are also ‘magnificent. All the nuances of the chorale are carefully observed, yet without affectation. Inthe grandeur, and beauty, and poetry, and eloquence of his orchestral reading, Karajan is thoroughly ‘traditional’. The tempi are just. The interpretation is exceptional only in its superlative quality, which again and again reveals beauties and subsletis that even someone very familiar with the work may not have noticed before. In is choice of Wagner singers, Karajan is less orthodox, He tends to favour as we [know from the Salzburg Ring and the DG recordings of it~ rather lighter voices than swe usually hear, and even when the choice is orthodlox enough ~ afterall he has haere the leading Sachs, Beckmesser and Pogner of our day ~ he encourages them ‘No superlatives are too strong for the orchestra’ contribution’ to adopt a lighter, les rhetorical, more “conversational approach than usual ‘So Hans Sachs's fist significant entry — when he rises to remind Pogner that skill, in mastering the rules may not necessarily bbe the surest way to a maiden’s heart — registers rather less emphatically than. ‘usual'Theo Adam sings the ‘Fleder’ ‘monologue very gently. There seems to be touch = how shall I pu it~ almost ofthe Lieder singer in the very beautiful way he pronounces the words. The voice is not small, not a all, but somehow the character seems less robust than usual Peis a performance of beautiful, delicate inflexions, and very beautifully sung; yet grandly too, few years ago Rene Kollo, the Walther, was a pop singer. Then he appeared! up at Bayreuch asthe Steersman in Hollinder i 1969, the next year 35 Erik and Froh, He has recorded Tinmnhiser for Decea; this year he sang Parsifal, and in Bayreuth Lohengrin. He has charm, liveliness, and a quick intelligence: no trace of the stodge, the thik tones or the thice personality whieh too often accompany’ the ‘Wagnerian tenor. The voiee is true and fresh, unforced, and i rides easily over the ‘Wagnerian swell. It is easy to understand Mr Kollo’s success, easy to hear why Karajan, we read, told him thathe was the ‘Walther he had been waiting for for years. In this performance, Kollo's‘Am stillen Herd? is first-rate: ardent, joyful, inresistible. So ishis Trial Song. When Kothner (witha very nie inflexion of veiled sareasm on the part of Zolean Keléman) asks him whether the matter is too sacred or secular his ery of Was heilig nie sets the heart leaping. He is excellent in conversation ~ the dialogues with the Masters, with Eva, with Sachs ~ are all ively, unroutined. He asks ‘questions as ithe wanted to know the answers. All ths is admirable, and so is his soaring, flowing line in the Quintet. Only in the Prize Song, both at its composition and in the publi performance, may we ‘ein to feel a lack ofthe full veal resources for the role, ‘The thied verse in Sachs's workroom, as Eva stands before him, does not pour out in inspired, radiant tones. We begin to notice that he lets notes goa litle to0 soon, not sustaining them for ‘ther ull, joyful length. There is not ‘enough in hand: he does not bow us over ‘with his singing in the fnal scene, a5 ‘Walthers should. But then what Walther does? (Well, Alberto Remedios has done, arthe climax of an inspired Goodall performance.) If Karajan has ast, as Walther, someone ‘whom we would more naturally think of as David oF Jaquino, and done so with on the whole notable success, for Eva he has ‘quite deliberately chosen a Marzelline; and the succes is not quite so definite. There is precedent: Elisabeth Schumann but Helen Donath’s voice lacks the variety, the character, the warmth and individual charm of Schumann's, Karajan wanted young voies for the young lovers. Miss Donath sounds young. She is nea, and pre, and tru. In the Quintet there isa very nice ell ¢he long till which closes the acclamation of the Prize Song is less amply sustained). Hike her performanee, so far as it goes, but E want more: a rapturous outburst of tone at‘Euch oder einen’, ales thin G for ‘Meister Diirer’, ‘Mein Tera really sung mit groser Wirme, anardent, ecstatic line when Walther appears in Act 2; soaring, radiant tones for “O Sachs, mein Freund! his review grows long, and I must be ‘more summary. Peter Schreier is a David with beautiful one and a refined declamation, though the character is litele les lively and charming than usual. His and Karajan’s handling of the ‘ender, duleet Rose-tone’ verges on the afected — ‘though admittedly Wagner has here indicated three tempo changes within the course of a single bar. Karl Ridderbusch is sramoptanecoukbeautiful Pogner; he sings the Address, in the expected Karajan way, more cconversationally, less shetorically than usual. At the stat of Act 2 his shaping of the phrases is uncommonly eloquent. Sit Geraint Evans's Beckmesser could not be Dertered. Kemerbese! Tis a delight. Zoltan Kéléman’s Kothner isa master singer, definite in roulade, and definite in character. All he Masters are exceptionally ‘good, Ruth Hesse is a sound Magdalen: the tone and the character are right, ‘though the voice is not so unfailingly reliable an instrument as, say, Josephine Veasey’s ‘Orchestra and singers are in fine balance, and the luminous performance, in this spacious recording, allows ust follow any orall of the numerous strands in the ensemble close of Act 1; to hear everything. in the double dialogue - Sachs and Beckmesser, Eva and Walther ~ while the clopementis being planned in Act 2. The youth of the young pair, their agitation and excitement, come over very clearly heres and the inflesion which Kollo gives to ‘Der Merker* is splendid Two little departares from the scare have slipped through uncorrected. They are mildly disturbing, only because they ‘oceut infamous passages nO Sachs, sein Freund’, Miss Donath straightens out, the syncopated ‘ohne dich’. In ‘Euch macht ines leicht” Adam sings at “Und was mein Spruch, something like G D B rather than the smooth straight ascent. Pete Andry in his foreword tells us that this Meistersinger recording was completed in only half che sessions that had been se aside fort. An amzing, heartwarming achievement! Andrew Porter Osco 57 Wagner Pers Peterman etna Deson orton Dna Segre tegen Caestton Ans. Ketan Ctaest abs ——Kightof the Grail, rt RY en Krghtof the Grail MarjonLambriks, Anne Glevang 22 Heiner Hoptner cn Georg Tchy Squires Barbara Hendricks, Janet Perry. Inga Nielsen: ‘Audrey Michael 2Doris ote, RRohangl Yachmi cor... Flewer-maldens Hanna Schwann Vole fromabove ‘Chorusof th Deutsche Oper, erin: Bertin Phitharmonic rchestra/Herbert von Karajan 0G @ @ 413347.2GH4(256'- ADD) Recorded 1981 sramophonecouk When Herbere von Karjan inated is Salaburg Easter Festival in 1967, ie was his plan that each new opera production ‘would fst he prepared musically to festival standard and recorded, afterwards rehearsed on stage with the recorded tape as accompaniment, whenever desirable for purposes of timing, placing, o whatever Singers could leaen their moves without having to sing atthe sme time, and producer Karajan would not have to ‘conduct until final rehearsals, There was for festival subscribers the extra advantage that, on collecting their tickets, they would receive alo the hore et of records relevant othe year, some months before the ordinary record-buying public had Last year's opera was Pas, he perfect work fora festival ehat includes Good Friday in its schedale, but one that Karsan had never before produced nor conducted since his prentice years if hen. For one reason of another, he had let tbe known, from the fis, that he was nos ina huny 0 bring Pars wo his Easter Festival, but in 1980 he was ready, and by the ine his production took the stage, the music had already been taped inthe Philharmonie, Berlin, with DG's Gunther Breest as record producer, during December 1979 and January 1980, The finshed presings ‘were not ready by Easter (oe were given Beethoven's Triple Concer instead), but here they are nov, in time fr the 1981 Salzburg Easter Festival which inchades a revival of Pari Greatly though Ladnire Karajan asa Wagner conductor, had some reservations about the musical performance of Persil at Salzburg last year. Wagner ‘composed it expressly for an opera house with a sunken, hooded orchesta pit, namely his own, vrtally handmade Festpiethaus a Bayreuth where the musical balance between tage and pitis ideal. In the large Fesspilhaus at Salaburg, every spectator sees the entire ‘orchestra and its conductor. Karsan made no attempt to reduce the decibel content of Wagner's free an fotisimo, so the singers worts, sometimes theit tone as, were often swamped, even sucha hig voce as Kure Mol’ “The records are another mater. Great puns have evidently een taken about Balance, and indeed shou the acoustic character ofeach seene. The orchestral ‘music sounds miraculously elear and clean KARAJAN SPECIAL EDITION and beautiful, with all the inner detail for violas and bassoons and third horn, ete, that the keenest student could wish — doubtless the digital recording technique helped here, The fist trumpet solo in the Prelude sounds to me even one notch too loud. There is a magical stillness in the ‘music when Gumemanz questions Parsifa (¢Das weiss ich niche’ always the answer) ‘then, in the transformation interlude, “orchestral note-values and rhythms are ‘minutely detailed, even on double-bases, ‘Once arrived in the temple, we hear an indoor acoustic when Gurnemany sings ‘Nun achte wohl’. The chorus of Knights approaches from a cavernous distance, and departs with similar theatrical effet at the tend of Act I. ‘A stunning acoustical coup occurs at the beginning of the Flower-maidens' waltz ‘ensemble, the soloists heard close at hand, ‘the chorus farther away, subdued yer distinct. The Good Friday Magic music is ‘exquisitely balanced and weighted and coloured, the transformation to Ticurel’s Funeral cortege again treated as aural spectacle, the bells now prominent 3s, before, the stage drums and orchestral bass ‘The new set is so nobly and euphoniously imagined and realized” shudders sounded. The scrupulous voice/ ‘orchestra balance does falter in the later part ofthe seduction scene, after Kundry’s Account of Christ’s Via dolorasa, when several times the voices dominate the Tam ying o unbarden my reservations irs, Deere the new sei taken al route 90 nobly eed euphoniesl imagined and ealzd Inthe st cone Karsan’ vew may sound so intent on the pertctionofsound-quality a to forge the lement of rough huraniy which after ll, Pani about the untamed ily, heels and unconsidering. ofthe rame- part the emotional dichtomy of Kundry, the malign of Klingsor, he self-piying futburs of ormented Arfors,

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