| Lohengrin |
Studio recording in stereo |
November 11, 1985 - June, 1986 |
| Conductor: Georg Solti |
| König Heinrich | | Hans Sotin |
| Lohengrin | | Plácido Domingo |
| Elsa | | Jessye Norman |
| Telramund | | Siegmund Nimsgern |
| Ortrud | | Eva Randová |
| Der Heerrufer | | Dietrich Fischer-Dieskau |
| Ein Edle | | Peter Jelosits |
| Ein Edle | | Thomas Mohr |
| Ein Edle | | Anton Scharinger |
| Ein Edle | | Alfred Sramek |
Wiener Philharmoniker
Chor der Wiener Staatsoper |
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| Decca, 470 795-2 |
4 CDs |
DDD |
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Review by Alan Peters
The late Sir Georg Solti's reading of the luminous score is, I think,
his finest Wagnerian effort, and I don't say this lightly, owning his
Ring cycle as well. Many conductors, eminent and otherwise, seem to
feel that they must rush through the overtures/preludes of Wagner's
scores; they fail to allow the music to breathe, to come alive.
Maestro Solti, in this recording, allows the "hidden" beauties of the
prelude to glow; he never races through the piece to "be done with it";
he builds upon the orchestral texture much like a master painter would,
that is, in layers in with consummate love for what he is about. The
result is as it should be: a slowly-building crescendo which culminates
in the splendor of horns and strings two-thirds of the way in. The quiet,
restful denouement brings the prelude to a close.
Domingo sings the title role better than I have ever heard it sung.
He brings dignity and a mystical quality to the role that it deserves.
His Act III duet with Elsa is most moving, as is his final "Leb wohl"
to the Brabantines. Jessye Norman's Elsa, although quite beautifully
sung, is almost too "full-bodied" for the part lacking, for want of
better terminology, the "fragile and virginal" in her reading of the
piece. All the notes are correct, but she is, well, too "knowing".
Siegmund Nimsgern has been roughly handled by many critics in many
Wagnerian roles. But here he is just right as the complex Telramund,
grasping, scheming, and finally, disgraced. His voice is indignant
and proud and full of lamentation where needed, and not without its
full effect. He is the perfect counterpart to Lohengrin. Randová's
Ortrud has also been severely taken to task for her interpretation
of this demanding role. Her voice finds a wobble here and there, it
must be admitted; but by and large, her antipathy for both Lohengrin
and Elsa (and her husband) are evident; her voice crackles with sparks
and her hatred of everyone (including, one would surmise, herself)
gives life to her 180 degrees - from Lohengrin effort.
The Vienna Philharmonic's work under Maestro Solti is well-nigh perfect.
This is because the conductor takes Wagner at the composer's word. I
have never understood why some conductors try to shorten a long opera;
for this, as well as other reasons, I find the late Herbert von Karajan
a conductor who attempted to "rewrite" Wagner's scores, often ignoring
the Master's stated tempi. It is true, as Ernest Newman wrote in his
splendid Life of Richard Wagner, that the composer's tempi were
"flexible but always true to the melodic line." Karajan, by contrast,
had, in my opinion, almost no understanding of Wagner as a composer.
Solti, by loving contrast, demonstrates not only his love of the music,
but also the psychological and emotional underpinnings of the score.
He handles it lovingly, and the Vienna Philharmonic responds accordingly,
with a beautifully-modulated work that is evident of the understanding
that the conductor brought to the work. The final page of the score, in
which Solti gives the kettledrums and brass their full reign, concludes
the magnificent work in magnificent style.
For those of you who have not heard the work, this CD is highly
recommended; for those who have other recordings of the opera (as I do)
but perhaps have not heard this recording, reward yourselves by giving
it a listen. You'll begin to appreciate the Master's later masterpieces
even more after hearing how this transitional work of his must have spun
itself out in his brain. |
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