Although the name of
Ivar Hallström was known to me
before this set arrived for review,
his music was not. As far as I can ascertain
this is the first recording of any of
the composers stage works to be issued
here. I say this knowing that my collection
of CD Catalogues from 1983 to date is
representative rather than complete
- all for the sake of domestic harmony.
The informative essay in the booklet
suggests the music is reminiscent of
Mendelssohn and Schumann. However unlike
Hallström they were not renowned
composers of stage works. The booklet
mentions the composer’s ballads for
soloists and choir of 1860 and 1865,
with texts by the future King Oscar
II as precursors. These ballads and
the current opera derive from Swedish
folktales. Hallström seems to have
been well connected: the libretto of
his operetta ‘Neaga’ (1885) was by the
Queen of Romania no less. In fact, Hallström
was a prolific composer of opera and
operetta often choosing Scandinavian
legend and folk story as his subject.
Other notable operatic works include
(giving the English names) ‘The White
Lady of Drottingham’, (1847); ‘The Miller
Wolf’ (1871); ‘The Vikings’ (1877);
‘The Silver Ring’, (1880) and ‘The Devil’s
Snares’, (1900). With ‘Duke Magnus’
(1867), Hallström, and his librettist,
set out to create ‘The First Romantic
Swedish Opera’. The work is described
as an operetta, although spoken dialogue
plays no great part. As to the music,
it is melodic, largely light in texture,
but with dramatic overtones when the
plot demands (CD2 tr.12). It is more
akin to Lortzing than Offenbach.
In his review of this
performance, elsewhere
on this site, Raymond Walker outlines
the plot in detail and I won’t repeat
the information here. As to the singers,
most were born between 1965 and 1973
and one would expect them to be at their
individual vocal peak. Indeed, whilst
there are no future international stars
to be heard nor are there glaring weaknesses.
The oldest singer is Emelie Sigelius
(b.1960) as Lisa. She is a light lyric
coloratura type soprano who, at first
hearing (CD1 tr.4), could do with a
touch more colour to her tone. However,
that might make for complications in
distinguishing her from the fuller-toned
Anna (b.1970) when the two are in duet
(CD2 tr.3), an unusual but effective
piece. Of the male singers, the Peder
of Staffan Alveteg has a steady well-covered
bass (CD2 tr.2) but no great range of
expression, whilst the tenor of Mattias
Ermedahl, as Brynolf, is light, graceful
in phrasing (CD1 tr.7), but thin and
not ideally steady at the top of the
voice (CD2 tr.8). However, the soloists’
total is greater than the sum of their
parts, and with their excellent diction
they make it easy to follow the English
translation of the Swedish libretto,
both being included in the booklet,
thus adding to the overall enjoyment
to be derived from this issue. The voices
are recorded well forward but not to
the detriment of the orchestra (CD1
tr.1), the whole in a clear warm acoustic.
The chorus is vibrant and plays a significant
part in the drama (CD1 tr.10 and CD2
tr.5). It is a pity that the synopsis
is not track-related.
Marco Polo are to be
congratulated for providing the opportunity
to hear this work from a composer who,
were he to have operated in Paris, for
example, would have a significant following
and many more recordings. I recommend
purchase to all lovers of operetta and
romantic opera.
Robert J Farr
see also review
by Raymond Walker
Vadstena Academy Choir