Royal Opera Gala
CD 1 [79:46]
Georges BIZET (1838 - 1875)
Carmen
1. Prelude to Act I
Sir Georg Solti
Gaetano DONIZETTI (1797 - 1848)
La Fille du Régiment
2. Par le rang
Salut à la France [9:00]
Dame Joan Sutherland (soprano)
Richard Bonynge
Hector BERLIOZ (1803 - 1869)
Les Troyens
3. Je vais mourir [6:55]
Josephine Veasey (mezzo)
Rafael Kubelik
Modest MUSSORGSKY (1839 - 1881)
Boris Godunov
4. Da zdrastvstvuet Tsar Boris
Skorbit dusha! [9:42]
Joseph Rouleau (bass); John Lanigan (tenor)
Sir Edward Downes
Richard STRAUSS (1864 - 1949)
Der Rosenkavalier
5. Da
Herr Kavalier! [4:59]
Yvonne Minton (mezzo); Michael Langdon (bass)
Sir Georg Solti
Elektra
6. Allein! Weh, ganz allein! [10:44]
Amy Shuard (soprano)
Sir Edward Downes
Benjamin BRITTEN (1913 - 1976)
A Midsummer Night's Dream
7. Helena! Hermia! Demetrius! Lysander! [5:27]
Delme Bryn-Jones (baritone); Kenneth McDonald (tenor); Elizabeth
Robson (soprano); Anne Howells (soprano)
Sir Georg Solti
Billy Budd
8. O beauty, handsomeness, goodness [5:59]
Forbes Robinson (bass)
Sir Georg Solti
Sir Michael TIPPETT (1905 - 1998)
King Priam
9. O rich soiled land [5:46]
Richard Lewis (tenor)
John Williams (guitar)
Sir William WALTON (1902 - 1983)
Troilus and Cressida
10. How can I sleep? [6:00]
Marie Collier (soprano); Sir Peter Pears (tenor)
Sir William Walton
Wolfgang Amadeus MOZART (1756
- 1791)
Le nozze di Figaro
11. Dove sono [6:50]
Joan Carlyle (soprano)
Sir Georg Solti
Giacomo PUCCINI
(1858 - 1924)
La bohème
12. Addio, dolce scegliare [5:21]
Elizabeth Vaughan (soprano); Maria Pellegrini (soprano); Jean
Bonhomme (tenor); Delme Bryn-Jones (baritone)
Sir Edward Downes
CD 2 [79:40]
Giuseppe VERDI (1813 - 1901)
Otello
1. Fuoco di gioia
Inaffia l'ugola [7:50]
Tito Gobbi (baritone); John Lanigan (tenor); John Dobson (tenor)
Sir Georg Solti
Falstaff
2. Eh! Taverniere
Mondo ladro [6:37]
Sir Geraint Evans (baritone)
Sir Edward Downes
Ludwig van BEETHOVEN (1770 - 1827)
Fidelio
3. Mir ist so wunderbar [5:03]
Elizabeth Robson (soprano); Dame Gwyneth Jones (soprano); John
Dobson (tenor); David Kelly (bass)
Sir Georg Solti
Richard WAGNER (1813 - 1883)
Das Rheingold
4. Abendlich strahlt der Sonne Auge [5:28]
David Ward (bass)
Reginald Goodall
Giuseppe VERDI
La traviata
5. Prelude Act I [3:26]
Gioacchino ROSSINI (1792 - 1868)
L'italiana in Algeri
6. Overture [7:17]
Jacques OFFENBACH (1819 - 1880)
Les Contes d'Hoffmann
7. Entr'acte (Barcarolle) [3:58]
Giuseppe VERDI
La traviata
8. Prelude Act III [3:27]
Gioacchino ROSSINI
Semiramide
9. Overture [11:16]
Charles GOUNOD (1818 - 1893)
Faust
10. Ballet Music [15:51]
Amilcare PONCHIELLI (1834 - 1886)
La Gioconda
11. Dance of the Hours [8:44]
5-11: Sir Georg Solti
Chorus and Orchestra of the Royal Opera House, Covent Garden
rec. Kingsway Hall, London, UK, June 1958 (CD 2: 5-9, 11); May
1960 (CD 2:10); July 1967 (CD 1:2); February 1968 (CD 1:12, CD
2:1-4); March 1968 (CD 1:1, 3-5, 7, 8, 11); May 1968 (CD 1:9);
June 1968 (CD 1:6); July 1968 (CD 1:10)
DECCA ELOQUENCE 480 0952 [79:46 + 79:40]
'This
Covent Garden Anniversary Album, as it was originally
called in its LP incarnation, was created to mark the company's
entry into its third decade' writes Anthony Clarke in his
liner notes to this issue. It made me first wonder what was the
subject of the anniversary: the opera company or the record company?
But the Covent Garden Opera was started in the 18
th
century and Decca started in the 1920s. However, a search on Wikipedia
told me that 'the Royal Opera is
London's
and the
United
Kingdom's most famous and most wealthy
opera
company, which, as the Covent Garden Opera Company, began
in 1946.' So that's the answer. At the same time I learnt
that Karl Rankl was its first Music Director (1946 - 1951), Rafael
Kubelik held the post 1955 - 1958 and from 1961 to 1971 Georg
Solti was at the helm. Edward Downes began his association with
the company in 1952 as assistant conductor to Kubelik and remained
for seventeen years/ Thus it's appropriate that those three
are represented on these recordings, Kubelik only in one number,
from Berlioz's
Les Troyens, but this was on the other
hand his greatest success in the house. Reginald Goodall also
conducted a lot there and was Rankl's assistant in the late
1940s.
Anthony Clarke stresses in his notes that during the period represented
here Covent Garden was an ensemble company with lots of homegrown
singers as well as 'Colonial' girls and boys: singers
from Australia who made Covent Garden their home. We need only
mention Joan Sutherland and Yvonne Minton. The first named's
recording of the
Salut à la France is the only item
not recorded specifically for this album. It was culled from the
complete recording of
La fille du Régiment, made
in 1967. All the other vocal items, plus the
Carmen prelude,
were recorded from February to July 1968 in Kingsway Hall which
lends a sonic consistency to the album. And it should be pointed
out that the quality of the sound is mostly superb, apart from
some overload distortion in a few places. There is depth and clarity
and dynamic width throughout and, most amazing of all, the orchestral
items that fill out the second CD were recorded in 1958 and 1960.
One could believe they were recorded last year. The chorus and
orchestra are also magnificent. The infectious playing of the
Carmen prelude sets the tone for the whole programme and
the chorus excel in the Coronation scene from
Boris Godunov
and a lively
Fuoco di gioia in the first act of
Otello.
Some ensemble scenes are, rightly, included. The quartet from
early in act III of Britten's
A Midsummer Night's Dream
is one of the loveliest scenes in this enchanting opera with its
outdoor atmosphere. In the quartet finale from
La bohème,
Elizabeth Vaughan is a strong Musetta opposite Jean Bonhomme's
rather weak Rodolfo, while the
Fidelio quartet is more
evenly balanced, but is marred by some distortion. The same goes
for
La fille du Régiment, where Sutherland is technically
stupendous with perfect trill and effortless top notes, but the
occluded enunciation
! Quite different is Josephine Veasey
in Dido's
Je vais mourir from
Les Troyens, singing
magnificently with silvery tone. She also took the part in Colin
Davis's pioneering first complete recording of the opera for
Philips shortly after this. The aria is among the most beautiful
ever written.
Canadian-born Joseph Rouleau had a long career at Covent Garden,
singing many of the great bass roles. I saw him as the Grand Inquisitor
in
Don Carlos, almost 25 years ago, a production that is
also available on DVD. Seventeen years earlier he was steadier
and presents a beautiful
bel canto Boris Godunov. Michael
Langdon is also a bit scaled down compared to many performers
of Baron Ochs in
Der Rosenkavalier, and it isn't unbecoming.
Yvonne Minton's Annina twists him round her little finger
with seductive tones. The following year she recorded a complete
Rosenkavalier in Vienna - also with Solti - but then she
was Octavian, and very good too.
Rosenkavalier and
Elektra
are separated in time only by two years but musically they are
worlds apart. The bleak, hard-hitting
Elektra is one of
the most horrifying operas, also for the almost super-human demands
Strauss calls for. Amy Shuard's reading of the final scene
is deeply involved and vocally among the best. Inge Borkh's
recording with Fritz Reiner for RCA of excerpts from
Elektra
and
Salome, may be even more spine-chilling and I have
a weakness for Birgit Nilsson as well.
In British repertoire a third stalwart in the bass department,
Forbes Robinson gives a nuanced reading of Claggart's aria
O beauty, handsomeness, goodness. On Britten's own
recording it was Michael Langdon who sang the part. Richard Lewis's
plaintive tone is well suited to
O rich soiled land from
King Priam and John Williams accompanies discreetly and
accurately. Marie Collier sings beautifully in the excerpt from
Troilus and Cressida and we also get a glimpse of Peter
Pears's characteristic tone - a different plaintiveness from
that of Richard Lewis.
Joan Carlyle is best remembered today, I think, for her Nedda
in Karajan's
Pagliacci for DG, but she was obviously
a fine Mozartean too and her
Dove sono is a fine portrayal
of the Countess's nobility, solitude and longing.
So far we have met regular members of the ensemble. On the first
track of CD 2 a famous guest appears: Tito Gobbi as the malevolent
Iago in
Otello. Always a superb actor he delineates the
character almost visually and he is in exceptionally fine voice.
He was also a great Falstaff but Covent Garden's own Geraint
Evans was just as accomplished and his palette of vocal colours
is almost richer than Gobbi's. No wonder the Italians regarded
him as their own.
After the
Fidelio quartet that I have already mentioned
we hear a fourth great home-bred bass, David Ward as a sonorous
and warm Wotan. The sometimes wilful Reginald Goodall builds up
an impressive orchestral climax, not as blatantly punchy as Solti,
rather subdued and architectural.
The bonus tracks, a full LP plus nearly sixteen minutes of gorgeous
ballet music from
Faust, conducted with flair and customary
precision by Solti, adds to the value of this issue. Not remembering
hearing these recordings before it was a surprise to have Solti
in two Rossini overtures. I can see before me Solti smiling joyously
during the
L'italiana in Algeri overture, while he
is grandiose in
Semiramide. I know that some pundits frown
at the sweet harmonies and seductive melodies of the
Faust
ballet but one has to be a sourpuss indeed not to enjoy the rhythmic
and melodic riches, especially when played like this - and Solti
doesn't sugar them unduly.
Lots of riches on these two well-filled discs. Maybe the appeal
is greatest for those who went to Covent Garden forty years and
more ago and saw and heard all these artists in the flesh, but
even I who started going regularly to London far too late to have
heard more than a handful of them still found a lot to enjoy.
Göran Forsling