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Leoš JANÁČEK (1854-1928) Katya Kabanova (1919-21)
Cheryl Barker (soprano) – Katerina
(Katya); Robert Brubaker (tenor) – Boris
Grigoryevich; Jane Henschel (mezzo) – Marfa Kabanova (Kabanicha);
Peter Hoare (tenor) – Tichon Kabanov; Gwynne Howell (bass) – Dikoi;
Victoria Simmonds (mezzo) – Varvara; Peter Wedd (tenor) – Vanya
Kudryash; Kathleen Wilkinson (mezzo) – Glasha; Owen Webb (baritone) – Kuligin;
Claire Hampton (soprano) – Feklusha; Sian Meinir (mezzo) – Zena;
Philip Lloyd-Holtam (tenor) – Passer-by
Chorus of Welsh National Opera
Orchestra of Welsh National Opera/Carlo Rizzi
rec. Brangwyn Hall, Swansea, 11-15 December 2006. DDD CHANDOS
CHAN 3145(2) [64:33 + 27:05]
The
latest instalment in the Chandos Opera in English series,
sponsored by the Peter Moores Foundation, presents one of
Janáček’s most beloved operas, Katya Kabanova: Kát’a
Kabanová in the original Czech. This is the fifth Janáček
opera in the Chandos series, the others being Jenůfa, The
Makropulos Case, Osud (Fate) and The Cunning
Little Vixen. All but the last were conducted by Janáček
authority, Sir Charles Mackerras. Sir Simon Rattle did the
honours for the Vixen. I was surprised to see Carlo
Rizzi as the conductor for this new Katya, not realizing
that he had established his Janáček credentials as long
ago as 2001 when he opened the Welsh National Opera’s most
recent production of the opera. Overall, he interprets fairly
well, although he does not erase memories of the various
Mackerras performances — most recently (June 2007) at the
Royal Opera House, Covent Garden. At times Rizzi underplays
the drama, while at others — the orchestral climaxes — he
tends toward Puccinian melodrama. Yet on a superficial level
he produces a convincing account of the opera. His cast also
convinces, especially Gwynne Howell as Dikoi, though the
portrayal of the title role leaves something to be desired.
The main attraction here is the use of the English language,
which is so clear that one rarely has to refer to the text
printed in the booklet accompanying the set. By the way,
the booklet also contains an extensive note on the opera
and profiles of the performers. This recording of Katya
Kabanova can be recommended to anyone wanting to hear
the work in English — and there is something to be said for
hearing opera in one’s vernacular. However, with this composer
the Czech language is such an integral part of the music
that much is lost no matter how good the translation. Now
to some specifics and comparisons with other recordings.
The
recording from which I came to know and love Katya Kabanova was
issued as long ago as 1962. The performance was by the Prague
National Theatre conducted by Jaroslav Krombholc. Listening
to the Supraphon LPs now brings back fond memories. The interpretation
is much more lyrical than any since, with Drahomíra Tikalová giving
an especially touching portrayal of Katya. The orchestra
also plays with that inimitable Czech sound of yore, the
woodwinds and horns with their softer timbres. All of the
principals were excellent, and Beno Blachut’s Boris Grigoryevich
particularly outstanding. The duet between Varvara and Kudryash
at the end of Act II with its folksong elements was also
a highlight. Of course, there were drawbacks. The drama was
a bit short-changed, at least until Act III, and the edition
used was somewhat corrupt. It took Charles Mackerras to remedy
that. All the same, it would be worthwhile to have this available
on CD. To my knowledge it has never been transferred to this
medium.
Mackerras
has recorded the opera twice. Of the two performances, the
first from 1977 with Elisabeth Söderström, Petr Dvorský,
and Naděžda Kniplová on Decca is superior. It received
the Gramophone Record of the Year Award in 1977 and
has rarely been out of the catalogue since. It set a new
standard in both performance and recording and was the first
to use the corrected edition of the score. This included
two short orchestral interludes Mackerras found in Prague
that at some time had been removed from the score, but have
been included in performances ever since. The characterizations
of Katya, Kabanicha, and Boris have never been surpassed.
The Vienna Philharmonic play like native Czechs and the sound
of the recording is still vivid. Mackerras’s second recording,
for Supraphon, with Gabriela Beňačková in the title
role and Eva Randová as Kabanicha is also excellent, though
it does not surpass the earlier Decca. While Randová is on
the same level as Kniplová, Söderström displays a more multi-faceted
character than Beňačková, good as she is. Of course
the Czech Philharmonic performs with all the authority expected.
The main drawback is the more distant recording, lacking
the immediacy of the Decca version or this new one for Chandos,
for that matter.
The
English-language version here is its own raison d’ętre.
Anyone coming to the opera for the first time will find plenty
to enjoy. It certainly aids one’s understanding of the text,
especially with the clarity and impact of the recording.
It’s only when one makes a detailed comparison with the Mackerras
recordings that one realizes what is missing. For one thing
there is not enough contrast between the two main female
roles. Cheryl Barker has a strong soprano voice that becomes
mezzo-ish at times and lacks the vulnerability of Beňačková and
especially Söderström. For example, in the dialogue between
Kabanicha and her at the beginning of the second act there
is too little distinction between the voices. Barker made
a better Elena Makropulos in the English-language performance
of The Makropulos Case conducted by Mackerras on Chandos.
Her voice quality and personification of the more dramatic
role suited her better than Katya does here. Henschel is
more convincing as Kabanicha, even if no Kniplová or Randová.
The other characters are better cast, especially the Dikoi
of Howell as mentioned above. Comparing Mackerras and Rizzi
is also telling. Mackerras finds so much more in the great
orchestral score. The wonderful woodwind and horn parts accompanying
the voices make a greater impression in both his versions.
Rizzi, on the other hand, skates over the surface much of
the time. In addition, both Mackerras recordings capture
the effects of actual staging. This includes the sound of
real thunder so crucial in Act III, whereas Rizzi settles
for timpani to achieve the effect. Some may consider this
an advantage, but for me it robs the performance of the necessary
theatricality. Overall, the earlier Mackerras also gives
better value in that it includes excellent recordings of
the Concertino and Capriccio, performed by
Paul Crossley with ensembles from the London Sinfonietta
conducted by David Atherton. It is now available at mid-price.
To
summarize, this new recording of Katya Kabanova is
for those wanting to hear the work in English and it provides
a fair representation of the opera. For those who want the
real thing, however, Sir Charles Mackerras’s 1977 Decca version
still rules.
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