Aribert REIMANN
Lear
Fischer-Dieskau, Bayerisches
Chor &
Staatsorchester/Albrecht
Deutsche Grammophon 463
480-2
2CD
Crotchet
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In 1968 the possibility of Shakespeare's great tragedy becoming an opera
was suggested by Dietrich Fischer-Dieskau to Aribert Reimann, his
regular Lieder pianist in the '60s and '70s. Reimann provides a diary of
its 10-year genesis, commission by Munich Opera and progress to production
by Jean-Pierre Ponnelle, in the 100-page illustrated booklet included with
this re-issue on double CD. Only Wozzeck, in Fischer-Dieskau's opinion,
portrays the loneliness of man, blind to his fellow man, equally convincingly.
The idiom is dodecaphonic and prevailingly dissonant and harsh, more so than
any other opera which comes to mind; or harshly beautiful, depending upon
your ears. Reimann builds massive climaxes, using microtones and clusters,
and long passages for the singers are not precisely notated. According to
Fischer-Dieskau, who found it necessary in his introduction to refute 'a
number of biased critics', these are 'of a flawlessness rarely achieved in
the history of recitative'. Lear is a wonderful gift for Fischer-Dieskau's
powers of dramatic declamation and its release on CD an important contribution
to his 75th birthday celebrations. In Claus Henneberg's libretto, event follows
event without pause for poetic reflection. The key episodes of Shakespeare's
King Lear are traversed at speed, and strongly particularised, with
memorable musical motifs and specific instrumental accompaniments for each
of the main characters, but it is all so well melded that it does not sound
in the least dated or formulaic.
The recording made live at the National Theatre, Munich in October 1978 is
first class and does not show its age, nor any lack of immediacy, vividness
or finesse. It is invidious to omit mention of any of the singers in what
must have been a remarkable team achievement and an unique occasion in the
annals of Munich Opera.[* LINK please
Len to S&H May 2000 - Munich opera reviews], but Fischer-Dieskau is admirably
supported by Helga Dernesch, masterful and determined as Goneril, and by
Colette Lorand as Regan, her sister and ultimate rival for power, hysterical
and overcome by manic, uncontrollable laughter at the blinding of Gloucester
- a scary moment. Truth and goodness are entrusted to Fischer-Dieskau's wife
Julia Varady as Cordelia, she alone allowed a poignant aria leading to a
duet with her belatedly enlightened father, all the more moving for our having
been kept waiting so long whilst evil and cruelty occupied centre stage with
steadily mounting horror.
Lear was produced in London with notable success by ENO, but
opened to mixed reviews. Few contemporary operas achieve an enduring place
in the repertoire. You will have frequent opportunities to enjoy Dietrich
Fischer-Dieskau recordings of Lieder, and in standard operas, for the rest
of your lifetime, but Lear's longevity in the catalogue will be at
the mercy of Universal's accountants! So snap it up while you have the chance.
Reviewer
Peter Grahame Woolf
