This BBC Legends CD is an attractive prospect, offering
live performances by two of the leading singers of the post-war era.
The Yugoslav soprano, Sena Jurinac was especially noted
for her performances of Mozart and Richard Strauss. She was, for example,
a memorable Octavian in Erich Kleiber’s classic 1954 recording of Der
Rosenkavalier. It is, perhaps, indicative of how times have changed
that she was never invited to make a commercial recording of the Vier
letzte Lieder whereas from the 1970s onwards virtually every Strauss
soprano of note has made at least one recording of the work.
In fact, there is another extant recording of
the work by Jurinac, made some ten years earlier, in May 1951 when she
was in her thirtieth year. The earlier performance, also given in concert,
took place in the Stockholm Concert Hall when the conductor was Fritz
Busch (the performance was given only a matter of months before Busch’s
death later in the same year). It was released, as part of a mixed recital,
by EMI Références a few years ago (CDH 7 63199 2). The
performance included on this present disc was given ten years later.
It is relevant to mention the earlier account because
it is referred to by Alan Blyth in his characteristically well-informed
liner note for this release. Whilst clearly impressed with the 1951
performance Blyth seems to prefer the later account which, he says,
finds the singer in more expansive mood. He also feels that the voice
is more faithfully recorded in 1961. I must say that I don’t entirely
share this view. To be sure, Jurinac’s voice seems to have much
more amplitude in 1961 – comparing the two versions is somewhat akin
to hearing a Sophie and then a Marschallin – however, I’m not sure that
the difference is all gain. To my ears the voice in 1951 has a much
more affecting silvery quality though there is still ample power when
it is needed. The high notes have a lovely ring in 1951 and there seems
to me to be more poise, freshness and subtlety in the reading. I suspect
there are two reasons for this. Firstly, in the first song, ‘Frühling’
(track 1) Jurinac gives a rather generalised account in 1961. Much of
the singing is insufficiently varied in dynamics – in fact, it’s just
too loud. I wonder to what extent this happened because she was just
trying too hard to project her voice into the vast expanses of the Royal
Albert Hall? Secondly, there’s the question of the accompanist. I wouldn’t
have associated Sargent with the music of Strauss though, of course,
he was a noted accompanist. The support he gives his singer her is characteristically
efficient but turn to Busch and you feel that the conductor is much
more inside the idiom (even if his orchestra commit a few fluffs). There’s
also evidence of a less complete rapport between singer and conductor
in 1961: several times Jurinac, perhaps out of spontaneity, rather rushes
Strauss’ characteristic little semi quaver or triplet melismas and gets
out of synch with the orchestra. Such little blemishes don’t happen
in 1951.
After the first song there is more evidence of subtlety,
such as the imperceptible holding back by Jurinac in the couple of bars
before the transcendent violin solo in ‘Beim Schlafengehen’ (track 3,
1’20") - though I have to say that the violin solo itself sounds
a bit prosaic and doesn’t take wing as it should. Thankfully, when the
voice re-enters at the words ‘Und die Seele unbewacht’ Jurinac soars
uninhibitedly and with full-throated ecstasy – is there a more glorious
single phrase in the entire soprano repertory, I often wonder? The concluding
‘Im Abendrot’ is sung with deep expressiveness. In summary, I would
say that there are many good things about this performance but, having
approached it with high hopes, I was a trifle disappointed and I think
I am more likely to return to the Stockholm performance when I want
to hear this great singer in one of my very favourite vocal works –
and this despite the maddening applause between every song! However,
if you can’t track down a copy of the EMI version, or if you prefer
a fuller voice in this work (which, after all was premiered by Flagstad,
also in the Albert Hall) then the present performance has much to offer
and admirers of Jurinac will probably want both versions on their shelves
(as do I) to compare and contrast.
The lion’s share of the disc is claimed by Christa
Ludwig (b 1928). I mention her date of birth, at the risk of appearing
ungallant, simply to show that this CD very valuably includes performances
from two very different points in her career. Though the recordings
are some twenty years apart they both demonstrate many consistent virtues,
including excellent diction, acute responsiveness to text, a fine sense
of vocal line, magnificent breath control and a warm, full tone.
The music of Mahler was a cornerstone of her repertoire
throughout her career and she made a number of very distinguished recordings
of his works (crowned by her recording of Das Lied von der Erde
with Klemperer). The account of the Lieder eines fahrenden Gesellen
shows that even by the age of thirty she was a highly effective exponent
of Mahler. The first song (track 5) is distinguished by generous, full
tone and a great care for the words. The accompaniment by André
Cluytens is well characterised and detailed. Singer and orchestra give
an intensely dramatic and well-projected account of the opening of ‘Ich
hab ein glühend Messer’ (track 7). Indeed, Ludwig’s singing in
this song is simply riveting. It’s just a pity that the audience accompanies
both the orchestral postlude of this song and the start of the next
one with a volley of coughing. Ludwig gives a really involving reading
of the final song, ‘Die zwei blauen Augen’ (track 8) with its thematic
premonitions of the First Symphony. All in all, this is a very fine
performance and the recorded sound is excellent, giving a much better
reportage of the orchestra than we find in the Strauss recording, made
four years later.
The remainder of the disc comes from a Wigmore Hall
recital given in 1978.Here we find not only a tremendously experienced
singer at the zenith of her very considerable powers. There is also
the joy of hearing her in partnership with Geoffrey Parsons at his typically
perceptive and supportive best. This recital was, of course, a more
intimate occasion and the singing recognises that fact. There is a rapt
account of ‘Ich bin der Welt abhanden gekommen’ (track 10), surely one
of Mahler’s most moving songs? Here Ludwig sings with great innigkeit
and Parsons is with her every step of the way, establishing tremendous
atmosphere from his first touch of the piano keys. The succeeding ‘Um
Mitternacht’ is no less distinguished. Ludwig is intensely communicative,
building to a radiant climax (track 11, 4’12"). All three songs
offer some of the most spellbinding Mahler singing I have heard for
some considerable time.
The Strauss group is just as successful. ‘Ruhe, meine
Seele’ (track 13) is commandingly dramatic, as it should be and the
vocal line is superbly controlled. This is followed by a truly ecstatic
‘Zueignung’ (track 14). I presume this was the last item on the official
programme for at the end the audience erupts into a storm of cheers
– and rightly so. After the intensity of the Mahler and Strauss items
the two Brahms encores were cunningly chosen. The touching simplicity
of these two songs, especially ‘Wiegenlied’ (track 15) is like balm
after the great emotions of the preceding songs and they constitute
a perfect envoi. The recorded sound for all these Wigmore Hall
items is very good with piano and voice in perfect concert hall balance.
To sum up. This is a most rewarding disc. The contributions
of Christa Ludwig are highly distinguished. As I’ve said Sena Jurinac’s
performance did not quite meet the high expectations I had for it but
there is still much to enjoy there. What is the most important thing
is that once again BBC Legends has put us in their debt by issuing performances
of uncommon interest by great artists. What a shame, therefore, that
they continue their perverse policy of not providing texts and translations
for vocal items. It is a scar on what is one of the most important of
historical series and, frankly, is unacceptable when the discs retail
at not much less than premium price. It is claimed that the texts and
translations are available via the web. However, leaving aside the fact
that this is not really as satisfactory or accessible as having the
words in the liner note, not all the texts are in fact available. At
the time of writing this review (mid-January 2003) some of the Strauss
texts including, crucially, those of the Vier letzte Lieder are
not on the website. It really is time that BBC Legends addressed this
important issue.
With that one, albeit significant caveat, however,
I warmly welcome this issue and recommend it.
John Quinn