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Salient: Victoria University Students' Paper. Vol. 29, No. 5. 1966.

Record reviews

page 11

Record reviews

Reviews of

Opera

Classical

records by RTH

Mozart: "Die Zauberflote" ("The Magic Flute"). Complete opera. Tamlno. Nicolal Gedda; Pamina, Gundnla Janowitz; Papageno, Walter Berry; Saras-tro. Gottlob Frick; Queen Of The Night. Lucia Popp. The Philharmonia Orchestra and Chorus, conducted by Otto Klemperer. HMV Angel series. San 13 7-9 (Stereo), An 137-9 (Mono).

An Outstanding set. EMI's release of magnificently recorded and performed operas seems never-ending—for example, the Decca recordings of Wagner (incidentally, the recording of "Die Walkure" was completed recently and is to be issued in the near future. thus completing the "Ring" cycle); the Angel series "Tosca" and "Carmen," and so on.

A glance at the cast for this performance speaks for itself, it hard to imagine a better cast on record or in live performance.

Throughout the tempi are rather on the slow side, however the opera never drags, the dignity and beauty of the music is emphasised; Klemperer's handling of Sarastro's arias and the choruses of masons is specially good.

Gedda is a very effective Tamlno—beautifully light without losing the strength of Tamino's character. Gundula Janowltz is delightful. Walter Berry invests the correct degree of humour into his role and Frlck's performance as Sarastro is noted for beauty and dignity, as benefits the role. However, all those performances tend to be overshadowed by Lucia Popp's interpretation of the Queen of the Night.

The accompanying booklet tells us that in her debut in this role in 1963 the press wrote of "a general rejoicing that a suitable artist had been found at last to sing this arduous role." Her brilliant performance on this recording substantiates this—the demanding aria in Act I offers her no terrors, she glides effortlessly through it.

The remaining small parts are very good. Who could imagine seeing a performance with artists of the calibre of Schwarzkopf, Ludwlg and Hoffgen in the roles of the three ladies? Throughout the orchestra's playing is very good.

Bizet: "Carmen" highlights. Carmen, Regina Resnik; Don Jose, Mario del Monaco; Micaela, Joan Sutherland; Escamillo, Tom Krause; Le Choer de Grand Theatre de Geneve, L'orchestre de la Suisse Romande, conducted by Thomas Schippers. Decca SXLM 6156.

This Is a disc comprising highlights from a previously released recording of the complete opera (Decca SET 256-8). It is a worthwhile buy for any collector who is not prepared to purchase the complete opera. In comparison to the Callas-Pretre recording (reviewed in Salient 2) it is dull and lifeless. Schipper's tempi are rather listless, without the vim and vigour that characterise Pretre's. Regina Resnik gives a rather dainty, musical performance, but the lack of tempestuousness takes away much of the basic pleasure of the opera. Joan Sutherland's small contribution (confined to one track) is very graceful.

Stainf. R: "The Crucifixion." Alexander Young, tenor. Donald Bell. bass. The Leeds Philharmonic Choir. Organ Eric Chad-wick. Conducted by Herbert Bardgett. World Record TZ 749 (Stereo).

This Is a relatively unknown work in New Zealand—in England it is considered one of the basic works in the repertoire of any choir (rather similar to our attitude towards "The Messiah"). An impressive work, it is described as a " 'Meditation on the passion of the Holy Redeemer' and is a setting of a text selected from the New Testament … interspersed with five hymns in which the audience or congregation is invited to Join." Unfortunately, the second, third and fourth hymns have been omitted from this recording—a pity when other recordings offer the complete work on two sides.

This is a good performance, satisfactorily recorded. Both tenor and bass fulfill their roles more than adequately (incidentally Bell is a New Zealander). The chorus work on the whole is good and Eric Chadwick's organ accompaniment is sympathetic.