The late nineteenth century opera-goer would expect as a matter
of course that Les Huguenots would be included in any
self-respecting operatic season. Although Bernard Shaw (as Corno
di Bassetto) pokes fun at it, it is affectionate fun. Listening
to these discs, whatever their shortcomings, one can understand
why it held the stage for so long. It would be foolish to make
comparisons with other large-scale operas concerned with the
interface of public and private concerns by, say, Verdi or Berlioz,
but it is effective and thoughtfully constructed and has moments
of real grandeur and pathos. Alas, live performances now are
far too rare which makes the availability of recordings all
the more important as a way towards appreciating the work.
The only score I possess is that of the Italian version edited
by Sullivan and Pittman, and I am unclear to what extent that
represents the composer’s intentions. A pencil note in my copy
indicates with some asperity that the performance was finished
at the end of Act 4 by “Harris Italian Opera” (Covent Garden)
on 27 October 1882, showing that a need to cut it has been felt
for a very long time. As far as I am aware the opera has only
once been recorded anywhere near complete, but that version,
issued by Decca in 1970, does not appear to be available at
present. Certainly it had some serious defects, notably the
casting of Raoul, but it also had the immense virtue of avoiding
harmful cuts and of the choice of Joan Sutherland as Queen Marguerite.
The present version also has the latter virtue – her stunning
vocal presence still undimmed twenty years later – but makes
very extensive cuts in just about every number, somewhat surprisingly
as both versions are conducted by Richard Bonynge. The result
is that the new version is certainly shorter but less effective
in building up tension or realising the scale of the work as
a whole. There is nonetheless, for the most part, a real sense
of the excitement of a live performance; something lacking for
much of the earlier and more complete set. Indeed it is the
understandable presence of such excitement that is the main
reason for issuing this set as it comprises Dame Joan’s final
stage performance. The audience is clearly aware of the historical
importance of the occasion and applauds her whenever it gets
a chance.
It would be understandable if the rest of the cast felt that
they were merely supporting a star’s farewell appearance, but
that would not be sufficient for an opera which notoriously
requires seven star singers. It does not really get them here
although all concerned sound thoroughly involved despite the
various moments with the kind of errors that occur normally
in live performances. Anson Austin as Raoul and Amanda Thane
as Valentine give gallant and exciting if occasionally inaccurate
performances of what must be exceptionally difficult roles.
The other leading roles are adequately sung if without the kind
of especial distinction that they really require. The chorus
and orchestra, and especially the latter, make the most of their
opportunities, with some very lovely solo playing in the many
opportunities given by Meyerbeer’s wonderfully imaginative scoring,
one of his main virtues as a composer.
The presentation of the set is frankly poor, with little more
than a couple of pictures of the occasion and a very brief synopsis.
If text and translation are not to be included much more than
this is needed to help the listener unfamiliar with the work.
I understand that a DVD is also available. I have not seen it
but would imagine that it would provide a better souvenir of
the occasion and also give a better idea of the opera and what
is happening in it, especially if subtitles are available. The
present set remains nonetheless a record of an important occasion,
when the retirement of one of Australia’s greatest artistes
was saluted by her fellow countrymen with a performance by her
national opera company in a world famous building. Understandably
after lengthy applause the set ends with speeches of congratulation
and Dame Joan’s singing of “Home, sweet home”. There was not
a dry eye in the house, I am sure, and even many years after
the event in my own (sweet) home listening to this was a memorably
moving experience. This is not the recording of Les Huguenots
of which I dream but it is an exciting souvenir of an historic
occasion.
John Sheppard
Marguerite de Valois – Joan Sutherland (soprano)
