Johann STRAUSS II (1825-1899)
Eine Nacht in Venedig (1883) [92:00]
Polka française [4:23]; Polka-Mazurka [3:11]; So ängstlich
sind wir nicht [2:27]; Die Tauben von San Marco [3:33]; Lagunen
Walzer [8:02]; Quadrille [4:57]
The Duke – Daniel Buckard (tenor)
Caramello – Pierre Gylbert/Johann Christensson (tenors)
Delaqua – Erika Andersson/Anna Larsdotter Persson (mezzos)
Barbara - Anna Larsdotter Persson (mezzo)
Annina – Merte L. Meyer/Anna Maria Krawe/Kristina Hansson (sopranos)
Ciboletta - Kristina Hansson (soprano)
Pappacoda – Henrik Holmberg (tenor)
Agricola - Erika Andersson/Anna Larsdotter Persson (mezzos)
Coro Notturno, Stockholm Strauss Orchestra/Mika Eichenholz
rec. live, Berwaldhallen, Stockholm, Sweden, 6 October 2002 (operetta); 1
January 2008 (orchestral pieces)
NAXOS 8.660268-69 [62:12 + 56:37]
Any release of Nacht in Venedig is welcome, and this one makes a big
play of being a recording of the original orchestration before Korngold got
his hands on it in 1923. However, this release is more puzzling than most.
This is not only because of the minimal plot information given in the booklet,
making it impossible to follow the story in detail. Nor is it because this
is a live performance, though in this case that brings more problems than
benefits, notably a balance very unflattering to the chorus and some decidedly
ragged ensemble work in the orchestra. It’s due to the doubling of parts.
As you can see from the cast list above, most of the roles are taken by more
than one singer, and the fish-girl Annina is taken by three! No explanation
is given for this very odd decision: according to the technical notes it was
all recorded on one evening, so it can’t be that certain singers were taking
roles on different nights. I can only imagine that it was done with the aim
of giving everyone a go at different parts; after all most, if not all, of
the cast were students at the University College of Opera in Stockholm at
the time of recording. Laudable as this is, it doesn’t do the work any favours
and, unfortunately, rules it out of the top flight of recordings instantly.
Once you get over this, though, you’ll find that the singing has a lot to
recommend it, most notably Henrik Holmberg’s roguish Pappacoda, singing with
fulsome richness to the voice. The two Caramellos are both good fun, though
in the Lagunen Walzer in Act Three Christensson’s voice is balanced
much too close to the microphone, sending me racing for the volume control.
Of the many Anninas the finest is Merte L. Meyer, both in her Act 1 solo and
in her big number at the Duke’s ball. The ensembles rattle along nicely, most
notably the big Act 1 finale. However there is nothing here to challenge the
supremacy of Elisabeth Schwarzkopf and Otto Ackermann on EMI and Naxos. The
sound may be in mono but years of experience and knowing wit still make this
the version to have more than 50 years later.
Of the orchestral pieces absolutely no information is given. They’re all reworkings
of moments in the operetta, played for a New Year’s Day concert six years
after Nacht was recorded. They’re good fun, but not really a reason
for buying the set.
Incidentally, all the spoken dialogue has been removed, which some readers
will see as a blessing but others a disadvantage. Applause is left in but
is quickly and very clumsily faded out at each appearance.
Simon Thompson