A Merry Widow for all time

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Oh what bliss! From the first moment of the orchestral introduction, which captures brilliantly that sense of expectation when sitting in a darkened theatre before the curtain rises, this famous recording is pure joy. Brilliantly cast and produced, it has a real whiff of the theatre, and yet you would be hard pressed to ever hear a performance of such class there. Principal among its delights is Schwarzkopf’s gloriously sung Hanna Glawari, singing with the same sort of care she lavishes on Mozart and Strauss. Indeed the moment she realises that Danilo is still in love with her (Allein liebt er mich, nur allein! ) in the finale of the second act is sung with such gloriously refulgent tone that it would hardly sound out of place in Strauss’s Der Rosenkavalier.

This was Schwarzkopf’s second recording of the opera, and, as in the first, Legge chooses a baritone for Danilo, rather than the usual tenor. However Wächter’s high baritone has no problems with the higher lying passages that Kunz (on the first recording) had to transpose down. Furthermore he sounds younger and more dashing. Gedda and Steffek make an excellent pair of lovers, the Pavillion duet in the second act a properly erotic affair, and the rest of the cast could hardly be bettererd with excellent contributions from Josef Knapp and Kurt Equiluz. Fabulous playing from the Philharmonia Orchestra under Lovro von Matacic.

Yes, there are fuller versions of the score around, but, frankly I couldn’t care less. I doubt this wonderfully stylish, fun packed recording will ever be bettered.

Scwharzkopf sings Johann Strauss

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These two Strauss operettas in Legge’s Champagne Operetta series make an apt couple of bedfellows, neither being quite what Strauss himself  wrote.

Strauss never in fact wrote an operetta called Wiener Blut, but, towards the end of his life, he did give Adolf Müller permission to adapt some of his existing dance music to a text by Victor Léon and Leo Stein. The result is a charming confection of familiar tunes, brilliantly performed here by Legge’s house operetta team of Schwarzkopf, Gedda and Kunz, alongside Emmy Loose, Erika Köth and Karl Dönch, with the Philharmonia under Otto Ackermann. However heavily cut (and this one probably suffers more cuts than the other operettas they recorded), there is no denying the echt-Viennese style in this sparkling performance. No more perfect example could exist than Schwarzkopf and Gedda’s swooning phrasing in the duet Wiener Blut.

Eine Nacht in Venedig has had a somewhat complicated history. The original Strauss operetta enjoyed only a limited success, and was massively revised (by Korngold and Ernst Marischka) for a 1923 production, which is, with one or two re-arrangements, additions and omissions) the version used for this 1954 recording.

Regardless of editions, though, this performance, like the other operettas in this series, is an absolute joy, with superb performances from the house team of Schwarzkopf, Gedda, Loose and Kunz.

Both operettas are absolute joy and thoroughly enjoyable.

Karajan’s 1955 Die Fledermaus

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Oddly enough, my previous post referred to an opera (Massenet’s Cendrillon) where a female breeches role was given to a tenor and the same thing happens here, though not quite to such detrimental effect. Where Gedda’s Prince Charming sounds all wrong, Rudolf Christ’s languidly effete Orlovsky almost reconciles me to the change and this  is my only slight quibble about a superb, classic recording, which I happen to prefer to Karajan’s later effort for Decca.

Though recorded in London with the Philharmonia, cast and conductor bring an echt Viennese quality to the whole enterprise, the judicially edited dialogue delivered in sparkling fashion. You don’t really need to speak German to understand what’s going on.

Schwarzkopf is a superb Rosalinde, none better, singing her Czardas with appropriate dash and swagger, the voice gloriously rich and firm; Streich a delightfully pert and flirtatious Adele; Gedda a properly tenor Eisenstein, with a fine line in comedy, especially when impersonating Blind in the final scene; Kunz a genially scheming Falke. Excellent contributions also from Krebs as Alfred, Dönch as Frank and Majkut as Blind. This really is a fabulous cast and Legge’s superb production ensures that the recording sounds like a real performance.

Karajan’s conducting is perhaps on the swift side, but the whole performance fizzes and pops like the very best brut champagne that the operetta celebrates and is guaranteed to lift the spirits.

Susan Graham – French Operetta Arias

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With a title like “French Operetta Arias” you’d probably be expecting quite a bit of Offenbach and maybe some Lecocq, but what we get is a disc of largely forgotten music from between the two wars. Quite a bit of Messager and Hahn, but also a couple of tracks from the Cuban composer Moises Simons (both great fun), one by Maurice Yvain, probably best known for his song Mon homme, immortalised as My man by Fanny Brice and Barbra Streisand, and one by, of all people, Arthur Honneger, from his operette Les Aventures du roi Pausole. Annoyingly the track listing just gives the titles of the songs so you have to consult the lyrics to find out the composer and work the song is taken from. With so much rare material I’d have welcomed a little more background.

What we do get, however, is a collection of delicious bonbons, an extravagant melée of delights, all delectably performed by American mezzo-soprano Susan Graham, who has, like her compatriot Frederica Von Stade, made quite a speciality of French music. In fact I remember seeing Graham for the first time in a Covent Garden production of Massenet’s Chérubin. Here she captures to perfection the style of the period and is by turns sexy, playful and coy. At one point, due to the magic of overdubbing, she even trios with herself, on Hahn’s O mon bel inconnu from his operette of the same name, in which three women answer the same lonely-hearts and fall in love with the same man.

Undemanding music, perhaps, but pure joy and wonderfully performed by Graham with the City of Birmingham Symphony Orchestra uder Yves Abel.