representations of "Lohengrin" at the Bayreuth Festival in 1958 marked the beginning of the triumphal career of Sándor Kónya main Swan Knight of the war. Under banner of romantic from the premiere opera, great singers of all nationalities had the character in his repertoire rising to become the paradigm called bel canto Wagnerian the first third of S. XX. This seemed to change with the consolidation of national schools, most notably when disposed definitely the chance to sing the role in other languages. Since the reopening of the Festival, Windgassen was a protagonist a bit pale and certainly alien to the pure legato singing watchword also singers like Wittrisch Germanic descent, Völker or Melchior. Kónya seemed restored with this tradition, though not as strongly that it is sometimes assumed. Indeed, this Lohengrin opens his mouth ("Nun bedankt sein") and chisels with extreme finesse silver whisper comes from another world. Since then the domain of these resonances mixed raises the comparison with great tenors of the past who also applied for its smoothness and purity, to characterize an angelic chastity character. An attentive listening reveals full voice, however, that the tessitura of step and the sharp sound showed signs found therefore paler, less ringing ("Segenvoll", "Elsa, ich liebe dich"). On the other side to make the prohibition ("Nie sollst du mich befragen") starts to become relevant in reality lacked the strength and character of the heroic side of the paper. During the issuance Telramund challenge is a bit feeble and the exclamation "Durch Gottes Sieg" less than convincing. In the second act seems to lack metal again to respond to overwhelming Blanc, but to reclaim the trust of nobles it is more robust and efficient. It is the third act which must be confirmed one Lohengrin. His singing is smooth and loving at the beginning of "Das Lied süsse" and accentuated in the exciting closer "Elsa, mein Weib," which allows us to appreciate the evolution of the character to human feelings. The tonal quality and the modest intimacy of the song from "Atmest du nicht" Lohengrin suggest that the was Jussi Björling, who shared the beautiful color but not the shining metal. However, it is clear that in areas committed the interpreter tends to settle for average dynamics. The changing tessitura of the admonition ("Höchster Vertraun") is uncomfortable from the start and lack of character is even more evident with a temperament Elsa Rysanek. In the story gets more intense gentlemanly accent, but again the vocal thrust is not required: the treble is pale, there is even a small cock in "Das einz'ge" and should be the sharp peak in "Glanz" is perceived a little haughty. At the beginning of the last scene lack solemnity due to the improved strength of the recitation. Kónya somewhat concentrated the most of it in moments of brilliance, because the beginning of "In fernem Land" convinces not only by the super low voice, but by the noble character, heraldic, religious. Once again the issue is perceived forced "heisst der Gral It!" and the amplitude of the stanza "Wer nun der Gral" seems to fit something big. From "von ihm Selbst war" song, remarkable, it seems a little plain of intentions, without the epic tone also has to transmit the page. On the other hand, the natural are no bells. The best thing about her performance is possibly the first section of "Mein lieber Schwan", a jewel by the beautiful color of your mezzavoce, probably obtained by refining the use of mixed resonances in the range. The anointing of his recitation changing fortunes to say goodbye to Elsa ("O Elsa!"), Which adopts a more passionate expression. It thus points to a duality Lohengrin in spirit / flesh, so often ignored in favor of a somewhat flat character. However, the famous verse that begins "Komm er dann heim", in which so many wonders can be heard on old records, it seems a bit disappointing despite the fervor of the emphasis placed in the most heartfelt verses (the latter two) maintains full voice and even ignores the piano in repetition of "Gedenken mein." The goodbyes sound firm and broad, lacking squillo . Lohengrin definitely a beautiful but not complete, there is agreement that Kónya never correct their shortcomings in this paper, mainly because the origin of them was the technical issue.
technique was also a problem that haunted Leonie Rysanek in his career, but not for lack of the same as that used for intermittent withdrawals match temperament tips overwhelmed. Her Elsa is anything but boring and nun character that sometimes it has become. On the contrary: it is a haughty woman and passionate to have only bent - or almost - and extraordinary circumstances beyond their control. When Kónya Rysanek prohibits and says "Mein Schirm! Mein Engel", one is tempted to think "lots for as little Elsa Lohengrin." And no one can say that the vocal aspect neglected, since the purity carving "in trube Einsam Tagen" in a glass thread rarely heard. During the verse "In lichter Waffen" there are small irregularities (Angola inflections) on the issue by changing registration in full voice - always his Achilles heel - as well as the usual shock of the glottis to the acute attack forte (" Ritters will ich waren der "). The singer capable of the highest purity of legato reappears in a "Euch, Luft die mein Klagen" Olympic serenity. This scene of the second act takes advantage of the contrast with the rough sound of Varnay, while R. remains a strong woman, a creature at all gullible. A dam is therefore difficult, as confirmed in the scene at the Cathedral. During the duo's third act goes "Fühl 'ich zu dir" with extreme finesse. The growth of the questions reflected the progressive nervous phrasing ("War'das Geheimnis") to explode with violence in the passionate "Kraft Durch mich Schweigens bewährt sei." From here you can talk about lack of restraint that plays against the nobility of the song: dirty attacks, acute launched, certain lack of expression. Furthermore, this intensity would have required a more severe Logengrin as a counterweight. Nor
lacks intensity Telramund marriage, although he was not also given in each. The Friedrich Ernest Blanc is not your typical bully is portrayed just open your mouth. On the contrary, his voice is noble, courtly accent, diction mordant. The sharp sounds and furthermore always filed in the second act the tone of his lament suffering gives it a significant psychological dimension. This is a manipulative man, but intelligent and with a sense of nobility. His appearance before the last Lohengrin scene is overwhelming. For its part, Astrid Varnay fully assumes the role of unambiguous embodiment of evil: the roughness of the bell, the ominous tone that covers the issue, the aggressive recited, sometimes using an exaggerated diction. At the scene of the oath, which opens Cluytens magnificently, we can see that phonation was already more than problematic - open, unfocused, not always in tune - along with an accurate and vibrant Blanc. However, in the duet with Elsa sample contained and intelligent move between civility and sarcasm. The intensity of his "Entweihte Götter" makes its effect despite sharp hardness. Less fortunate was the apocalyptic delivery in his last oath, with a phrasing disjointed, continuing difficulties in the notes to attack, basing the whole sound without brute force to achieve and detach from the gorge and a final statement issued more than seems to disgorge. Kieth Engen
King Henry is a somewhat baritone and thus free their sharp sound (although nasal) as the major area of \u200b\u200b"Mein Herr und Gott" seems a bit fair. Timbral distinction is lost with the Herald of Eberhard Wächter, whose strong voice and accent free and majesty, made his intervention in a model in this paper.
regard to the direction of André Cluytens perhaps lacks a criterion unifying the entire cast, in which nothing less than the protagonist appears isolated in its low profile and dramatic lyricism. The decision reveals its elegant work with the orchestra, beginning with a prelude to a strong sense of growth and increasing complexity of polyphonic tapestry. It is possible that the intervention of brass and percussion at the climax is a bit invasive. The beginning of the second act shows a clear sensitivity to capture the atmosphere romantic evening. It is also direct in presenting a model of evil Ortrud. The final great moment of catharsis does not reach sufficient intensity after Hurricane Varnay triggers. The choir is impressive especially in the epic passages (oath on the sword) but also enjoy crowd scenes in the opera lengthier.
Bayreuth Festival, July 23, 1958.
Sandor Konya (Lohengrin), Leonie Rysanek (Elsa), Kieth Engen (King Henry), Ernest Blanc (Telramund), Astrid Varnay (Ortrud), Eberhard Wächter (Herald), Gerhard Stolze, Heinz-Günter Zimmermann, Gotthard Kronsteiner, Egmont Koch (Nobles). Bayreuth Festival Chorus & Orchestra, conductor: André Cluytens.
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