Reviews in February 1997

Chant D'Amour - Mélodies Françaises

Selection of French songs by Bizet, Delibes, Viardot, Berlioz and Ravel

Cecilia Bartoli, mezzo-soprano / Myung-Whun Chung, piano (Decca 452 667 - 2)

Rightly recognised as the greatest mezzo-soprano around today, the young and brilliant Cecilia Bartoli is out to prove that she is also a great musicologist as well with this new release. The repertoire in this CD is unique, and there are many songs here, particularly those by Pauline Viardot (1821 - 1910), that have hardly ever been recorded or performed. Many would be approaching a lot of this music for the first time, and I must say that Bartoli deserves full credit for planning such a delightful collection that allows us to discover real gems that are unjustly left out of the standard repertoire, as well as to unearth fresh insights in popular numbers.

The fifth track, Bizet's La Coccinelle should bring a smile to your face. It is a fable of a gentleman who tries to kiss a ladybird (you might be asking why?), and Bartoli pulls a big surprise when she changes her tough yet beautiful mezzo voice to a raspy, totally unrecognizable witch-like one to depict the little insect. There lies a bigger surprise yet, in track 11 (Berlioz's Zaïde) where she does not just sing with heart and gusto, but also gives us an impressive, skillful display of castanets-playing too!

Nothing here is anything less than delightful. The repertoire is well mixed, giving Bartoli ample opportunity to display her wealth of abilities, from dazzling Rossinian coloratura pyrotechnics (Viardot's Havanaise and Bizet's Tarantelle, among others) to dramatic intensity (Viardot's Hai Luli!, Berlioz's La Mort d'Ophélie, and the title track) to feminine sensuality (Ravel's Vocalise-étude en forme de habanera). Everything is presented with ease, intimacy and flair, and Bartoli offers more precious musical insights than one could possibly ask for.

This deeply satisfying recital also has the benefit of genuinely sensitive, committed and thoughtful accompaniment from Myung-Whun Chung, who is as attuned to this varied repertoire as the great singer. Excellent digital recording. This is one rare CD that I am sure great singers from the past like Maria Mallibran (Viardot's sister) would have been very proud of if they heard it.

Written by Lionel Choi

Johannes Brahms (1833-1897)

Symphony No.4 in E minor, op. 98; Variations on a Theme of Haydn, op. 56a

Chicago Symphony Orchestra / Sir Georg Solti (Decca 430 440 - 2)

When I re-listened to the 4^th symphony by Brahms' for the purpose of this review, it was after a hiatus of several years, I think. While I have nothing against the music of Brahms, I've always felt that his Teutonic austerity and loquacity may make extended listening to his works a little hard-going. Surprisingly, when I listened to this recording, none of these sentiments resurfaced. Solti has done a good job of interpreting this symphony, giving it enough verve and excitement to make compelling listening.

Some might complain that Solti lacks gentleness in his handling but I think that this 'weakness' may have worked well in this recording, where his macho approach and the amazing precision of the Chicago Symphony Orchestra work together well to give a magical result.

The first movement is atmospheric and almost ethereal in its tragic melancholy. Despite the palpable lethargy of the mood, it manages to soar to a triumphant determination that is almost heroic. The third movement is delightful and infectious in its liveliness. Solti's pace is brisk and festal, weaving lyricism seamlessly into the pastoral atmosphere. I am especially impressed by the majestic and sombre finale, which has often been described as a passacaglia, or a set of variations. Brahms has always been rather fond of writing variations, and this shows him at his finest. Solti coaxes great passion and grandeur from his strings which never let him down. There is a fine and lovely moment when a solo flute waxes lyrical on the sad theme. This moment soon passes and we are returned to the original tempo where there is a tempestuous repetition of the original theme and a surging, relentless rush toward the tragic coda.

The 'Variations on a Theme of Haydn' is a welcome bonus to this fine disc. Solti captures the classical nature of the theme well and leads us on a charming and fun ride through the work. This work is based on a Feldpartita, or an outdoor divertimento for wind band, supposedly by Haydn although the attribution is in some doubt now. Brahms was enchanted by the second, based on the St Anthony Chorale, an old pilgrims' hymn. As usual, Solti has adopted a tempo that is brisk and no-nonsense, to the extent that some might find his glossing over some of the variations perfunctory and superficial. I would appreciate more thought in a work's interpretation and I think Solti may have rushed through this work without doing enough thinking. Although, I must confess that the whirlwind pace of Solti in some of the variations can be very exciting and thrilling to the speed demon in some of us.

Despite a little reservation toward the Haydn variations, this disc can still make a fine addition to your collection, if only for the 4^th symphony. Although the recording is 20 years old, Decca's marvelous sound engineers have given us crystal-clear sound that is transparent without sounding sterile. I strongly recommend this disc to admirers of Solti. This recording will also make a good and lively complement to some of the more austere and 'serious' Brahms recordings we may already have.

Written by Melvin Yap

Giuseppe Verdi (1813 - 1901)

La Traviata (complete)

Angela Gheorghiu, soprano / Frank Lopardo, tenor / Leo Nucci, baritone / Chorus and Orchestra of the Royal Opera House, Covent Garden / Sir Georg Solti, conductor (Decca 448 119 - 2) (2 CDs)

I am very deeply moved by Solti's new live recording of Verdi's La Traviata. The sound quality is outstanding: the recording engineers do a wonderful job of presenting a live opera. There are slight stage noises which some may find intrusive, but generally, I felt they added much to the occasion. Applause is limited to the endings of scenes and acts, not after every aria.

Angela Gheorghiu's Violetta is the best I have ever heard on recent recordings. She blows Sutherland, Varady, Studer, Scotto and Te Kanawa right out of the water. (Anna Moffo still ranks as my favorite Violetta, with Gheorghiu a very close second.) Frank Lopardo's dark tenor, almost bordering on baritone, gives a unique angle to the character of Alfredo; indeed it was a very convincing portrayal! I am more accustomed to a light-sounding youthful tenor, but Lopardo is in definite command of his role. Leo Nucci has not been receiving very good reviews lately. But I happen to like his warm, silvery baritone. He portrays a loving father truly concerned about his son's well-being, not a mean, mettling old fogey who wants his way just because he is older. Robert Merrill (on recordings by Toscanini and Pritchard) always gave me that impression with his characterization of the older Germont.

Sir Georg Solti directs a loving, gentle and smoothly-paced performance giving plenty of time for his singers to wallow in their respective roles. There is no Toscaninian fervor here, and quite frankly, the music does not call for it. Solti is amazingly subdued and slightly introverted in this interpretation, and indeed this is hardly a bad thing. The tempi are slower than usual and yet the music flows beautifully, never sounding too ponderous. The Royal Opera Orchestra and Chorus provide excellent support throughout.

This Traviata rules!

Written by Francisco J. Blanco

Ludwig van Beethoven (1770 - 1827)

Symphonies Nos. 5 and 7

Vienna Philharmonic Orchestra / Carlos Kleiber (DG 447 400 - 2)

Originally, these 2 performances were separated on 2 different CDs without any couplings and were at full price, which made them extremely short measure considering how much music can be squeezed into one silver disc. But Deutsche Grammophon seems to have sensed the dissatisfaction of all admirers of these splendid performances, and decided to put them together and reissue it at mid-price on its wonderful DG 'Originals' series.

I can't think of a better word to describe Carlos Kleiber's account of the Fifth than 'classic'. Indeed, from the fierce pounding opening chords that make up the "Fate knocking at the door" motif, we can tell right away that this is going to be quite an experience. Compared to many other conductors who have recorded this symphony, Kleiber has a firmer grip on the architecture of this somewhat wayward and overrated symphony. He leads the orchestra in a performance that has totally winning conviction and commitment. His chosen tempi are very apt. The Vienna Philharmonic boasts stunning playing in all departments, and the new digital remastering has added more body, amplitude and brilliance to the already excellent analogue recording. There is absolutely nothing to fault in this performance. The warmth of the Andante con moto is very appealing, and there is a masterly and thrilling build-up from the third movement to the finale, which is dramatic in its wide dynamics and surges forward at an exhilarating pace.

The Seventh, by far a better work, is hardly less successful. This account has greater spirit than others, and is totally convincing in its establishment of great melodic and rhythmic ideas, and symphonic strength. Kleiber shows immaculate control of orchestral colour and a keen sense of drama. After a dark opening, the first movement emerges with a buoyancy and rustic joy rarely heard elsewhere. An impeccably paced performance, once again given excellent sound.

All music-lovers need not hesitate with this one.

Written by Lionel Choi

Béla Bartók (1881-1945)

Dance Suite, Sz 77; Deux Images Op.10 Sz 46; Hungarian Sketches Sz 97; Divertimento Sz 113

Chicago Symphony Orchestra / Pierre Boulez (DG 445 825 - 2)

I used to be a great fan of Bartók, being endlessly fascinated by his seminal Concerto for Orchestra, his unique and extremely brilliant piano concertos as well as his curious and tragic violin concertos. I guess I still have a little of that spark in me, and I found the old Bartók magic in this disc as well.

These works are not frequently recorded and this lacunae is inexplicable.

The Dance Suite is based on some musical cultures Bartók had been studying and the dances come from an eclectic collection of cultures. For example, the first dance has Arab origins, which can be deduced from the chromatic, repetitive character of its main motif. Other dances are based on Hungarian, Romanian and Arab characters thus this is a truly international work. The folk element of the dances are very strong and evokes great nostalgia and poignancy. Despite the multicultural nature of the work, the ironic and sharp-edged influence and style of Bartók is prominent, making it unmistakably his creation.

Two Pictures is an interesting work, which seems to be torn between two conflicting directions. The first movement looks back to Bartók's enchantment with Strauss and Debussy, and the impressionistic, dreamlike atmosphere conveyed is vivid and opulent. The second movement, on the other hand, is angular and far more mundane and realistic and reflects Bartók trying to refashion himself by the means of folk music. The village-like atmosphere is paradoxically conveyed by a cheerful and lively dance that is overshadowed by something dark and gloomy lurking in the periphery.

Hungarian Sketches is another example of a work based on synthetic ethnicity. The material in this work is largely assembled from his own compositions and the results are charming and pastoral. The 'Bear Dance' is especially cute, with a pseudo-military air that fully reveals Bartók's fascination with playing with percussion and woodwinds. This particular sketch in fact originates from a previous work called 'Ten Easy Pieces'.

The divertimento, which was written in 15 days, is possibly the most playful work of the disc and starts with an introduction that is somewhat similar to Stravinsky's 'Rites of Spring'. This work, while structurally simple, brims over with lyricism and poetry and there is a sense of harmony and completeness and flow that is rare in Bartók's works.

There is not much to complain about Boulez's direction, except that perhaps it could have been a little less genteel and refined. I think Solti's angularity and brashness might have worked a little better here, giving the works more impetus and excitement. Nevertheless, the sound is marvellous, based on DG's famed 4D system, and the 72 minutes of music are generous. This could be a useful addition to your existing collection of more mainstream Bartók works.

Written by Melvin Yap