While Schubert is a much admired composer and a large number of
his compositions are acknowledged as works of genius, there is
still a considerable number of his works that have been neglected.
To this class, belong Schubert’s operas, which are almost entirely
unknown. This is largely due, on the one hand, to generally poor
libretti, often written by Schubert’s well intentioned friends
who unfortunately lacked the necessary writing talent and on the
other hand to the general belief that Schubert’s operas are dramatically
ineffective. Therefore a reconstruction of an opera such as Sakontala
is to be applauded and having this historic performance recorded
live for posterity is a most welcome endeavour.
In the autumn of
1820, Schubert began working on a large-scale romantic opera
in three acts, with partly spoken dialog, for soloists, choir
and orchestra. This was Sakontala. The libretto, based
on a drama by classical Indian poet Kalidasa (ca. 500 AD), was
written by Schubert’s friend, physics professor Johann Philipp
Neumann (1774-1849). The fact that it is based on a literary
masterpiece, sets the work apart from all other libretti that
Schubert set to music and which were definitely second rate.
Rescuing one of
Schubert’s numerous unfinished works for the stage from obscure
anonymity was an idea from Finnish cultural “entrepeneur” Antti
Sairanen. Sakontala was chosen because of the quality
of the original text.
To undertake the
reconstruction, Sairanen contacted distinguished Danish author,
conductor and composer Karl Aage Rasmussen, an award-winning
musician and scholar, and an established lecturer in many European
countries and in the USA. The initial idea was to combine Schubert’s
unfinished score with new music composed by Rasmussen but, as
Sairanen managed to obtain a copy of the original manuscript
from the Schubert Society, in Tübingen, it became clear that
the composition was not a real fragment in the true sense of
the word, as initially expected. There were more than 400 pages
of unknown music written in Schubert’s own hand. The pages,
with 16 staves, were organised as an orchestral score and Schubert
had fully composed the vocal parts with text. However, there
were hardly any notes about orchestration or harmonisation and
only rarely did he write accompaniment. Midway through the work,
Schubert abruptly stopped composing. The reasons are not clear
but, according to Rasmussen, this could have been because he
was having doubts about the last part of the libretto, the third
act, which added new developments and events to Kalidasa’s play.
Rasmussen was able to get the full Naumann libretto and could
establish that the part of it that Schubert finished setting
to music formed a meaningful complete work, dramaturgically
speaking. As he explains in his own words, Rasmussen was able
to complete the score, fill in the blanks and, by moving some
scenes from the complete first act to the unfinished second,
obtain dramatic unity and create an opera that lasts approximately
two hours in performance.
The story revolves
around king Duschmanta who falls in love with Sakontala and
gives her a ring as proof that he wishes to marry her. Durwasas,
a hermit and holy man, offended that Sakontala does not pay
him enough respect because of being in love, calls down a curse
on her, which will make the king unable to recognise her. Durwasas
mitigates the curse by enabling the king to recognise Sakontala
if she shows him the ring. But there are demons that ensure
she loses the ring. And so, when she presents herself with her
foster-father at court, she is cast off by the king who cannot
remember her. In act two, a fisherman finds the ring, which
has the king’s name engraved on it. Taken to Duschmanta for
trying to sell the king’s ring, the fisherman confesses he found
it in the belly of a fish. When the king sees the ring, his
memory returns and eventually the two lovers reunite in a final
choral scene, with High Priest Kanna advising to always trust
the wisdom of the Gods. As a dramatic plot, this is complete
and makes full sense.
A third act seems
unnecessary and this might be what was in Schubert’s mind and
the reason why he abruptly stopped composing. Therefore, to
have the opera in two acts appears a logical idea and a good
decision by Rasmussen. His was obviously a labour of love and,
intelligently, Rasmussen does not try to update Schubert’s style
of composing or to re-write his sketches in a contemporary way.
The only “modernisation” is that modern instruments, like valve
horns and pedal timpani were preferred to historical ones. Rasmussen
uses the fragmented manuscript as the sole background for all
technical and artistic decisions, and here lies the beauty and
accomplishment of the work. The reconstruction has resulted
in a delightful opera by Schubert, dramatically powerful, with
both tragic and comic elements, and including very beautiful
music.
The first act is
undoubtedly the most accomplished of the two. It has moments
that reminded me of Mozart; the ensemble music is appealing,
containing some lovely, cheerful melodies that warm the heart.
The second act is shorter and was the one that made me think
of some of Schubert’s best songs, like the powerful Erlkönig.
The first act also includes a wonderfully expressive, romantic
aria sung by Sakontala, where she declares her love for the
king. Soprano Simone Nold, who sings the title role, performs
the aria with delicate sensitivity and her crystalline clear
voice puts it across very effectively. Her depiction of Sakontala
is fresh and moving, particularly in the scenes where the king
does not recognise her and towards the end, during the touching
final duet with Duschmanta. Tenor Donát Havár makes a convincing
Duschmanta. His performance is accomplished and attractive,
and his voice sounds suitably young and sparkling throughout.
But to my mind, the best singing comes without doubt from basses
Martin Snell as the high priest Kanna and Konrad Jarnot as Madhavia,
the court jester. Snell is majestic and powerful; his voice
carries the music easily without any apparent strain or effort.
Jarnot manages a wonderfully ironical, funny rendition of Madhavia’s
aria where the jester mocks hunting, making me wish each time
that I could see him on stage. The other soloists are all excellent
and the Kammerchor Stuttgart as well as of the Deutsche Kammerphilharmonie
Bremen give a truly great performance, delivering the music
with style and living up to their high artistic standards. Frieder
Bernius conducts with real insight into Schubert’s musicianship
and sensitivity, achieving a delicate balance between the music
and the singing. He confidently leads the soloists, choir and
orchestra in a remarkable, fabulous and very enjoyable performance
of this nearly “lost” work by one of the greatest composers
of the romantic era. Together, they fully achieve Rasmussen’s
objective with his reconstruction of the opera, which was, in
his own words, ‘to give the general public access to almost
two hours of unknown music by Schubert’.
I simply adored
this CD. I loved the music, the singing and the performance
in general, regretting only the fact that I was not present
at the Stadthalle Metzingen to have witnessed live this historic
and wonderful world premiere of what I personally would name
Schubert’s best work for the stage.
Margarida
Mota-Bull