Pyotr Ilyich TCHAIKOVSKY (1840-1893)
Pique Dame (The Queen of Spades) - opera in three
acts (1890) [168.43]
Concert performance of opera - Sung in Russian
Herman - Misha Didyk (tenor)
Lisa - Tatiana Serjan (soprano)
Countess - Larissa Diadkova (contralto)
Count Tomsky - Alexey Shishlyaev (baritone)
Prince Yeletsky - Alexey Markov (baritone)
Polina - Oksana Volkova (mezzo)
Surin - Tomasz Slawinski (bass-baritone)
Narumov - Anatoli Sivko (bass)
Tschekalinskij - Vadim Zaplechny (tenor)
Chaplitsky - Mikhail Makarov (tenor)
Governess - Olga Savova (mezzo)
Prilepa, Chloe - Pelageya Kurinaya (soprano)
Kinderchor des Bayerischen Staatsoper
Chor und Symphonieorchester des Bayerischen Rundfunks/Mariss Jansons
rec. live, 11-13 October 2014, Philharmonie, Munich, Germany
Full Russian libretto with English and German translations
BR-KLASSIK 900129 [3 CDs: 66.40 + 55.18 + 46.45]
Based on Alexander Pushkin’s renowned but rather grim
short story about human avarice and obsession this concert performance of
The Queen of Spades brings the work to life. Renowned as a concert
orchestra the Symphonieorchester des Bayerischen Rundfunks has relished the
opportunity of giving opera performances under conductors such as Rafael Kubelik
and Leonard Bernstein. Thankfully chief conductor Mariss Jansons is upholding
that tradition. In recent years it has become customary for many orchestras
include a concert performance of an opera or an oratorio in its programme
each season; a trend that I hope continues. Jansons has already demonstrated
his admiration for Tchaikovsky operas giving concert performances of Eugene
Onegin in 2011 in Munich. Last season the Symphonieorchester des Bayerischen
Rundfunks and Jansons gave a pair of concert performances of The Queen
of Spades at the Philharmonie, Munich. This set is taken from those concerts,
advertised in the programme as a concert performance yet in the accompanying
booklet there is a picture describing the performance as semi-staged. Jansons
selected a cast of native Russian singers; incidentally Jansons maintains
the Russian connection as he trained at the then Leningrad Conservatory.
The principal character in The Queen of Spades is the tormented Herman,
greedy and compulsive, played here by tenor Misha Didyk who tackles his arias
with an unyielding sense of engagement. In reasonably firm voice, energetic
and not too over-bright the tenor does rather leap at the high notes but the
effect it is often thrilling. A highlight from act 3, Herman’s aria
‘What is our life? A game!’ is highly moving and dramatic
with a tessitura that falls perfectly for Didyk. I remain impressed with his
characterisation of Herman and his innate ability to convey thoughtful expression.
Tatiana Serjan’s portrayal of the role of Lisa is not always the smoothest
but one that is wholehearted with an abundance of passion. From act 1 ‘Why
am I crying?’ the soprano is notably bright in her top register
with a little strain evident. Affecting from act 3 is Lisa’s arioso
‘I am weary with sorrow’ that Serjan sings with a tender
passion and accomplishment.
In a performance full of character baritone Alexey Shishlyaev sings the role
of Count Tomsky with his voice falling agreeably on the ear. In Tomsky’s
demanding act 1 aria ‘Once in Versailles’ (Three
Cards) Shishlyaev’s deep, rich baritone is splendidly conveyed,
if a touch stained at the top, resulting in a dramatic conclusion that the
audience cheer loudly. Full of individuality Tomsky’s act 3 song with
chorus ‘If darling girls could fly like birds’ is delivered
with impressive projection and diction.
Making quite an impression is mezzo-soprano Larissa Diadkova as the Countess.
In act 2 the Countess movingly reminisces about the old days when she sang
for the king at Versailles with the aria ‘Je crains de lui parler
la nuit’ which is given a highly assured performance marked by
a stylishly effective technique.
Standing out as Prince Yeletsky is Alexey Markov with the moving baritone
aria ‘I love you beyond all measure’, gallant and rather
tender-hearted, which he addresses to Lisa. Capacious and richly coloured,
Markov’s dark voice convincingly reveals impressive musical instincts.
Coached by Stellario Fagone the Chor des Bayerischen Rundfunks sing radiantly
substantially adding to the success of the production. There's also
a delightful children’s chorus. Jansons controls everything expertly
maintaining what one imagines to be his usual calm demeanour. A remarkably
fresh and well rounded sound can be heard from his magnificent Bavarian orchestra.
The engineers have done a marvellous job providing excellent sonics delivering
impressive detail. The soloists, chorus and orchestra can’t have been
easy to balance. Audience applause has been left in which helps maintain the
live atmosphere. On the down-side there is some minor stage noise detectable.
The label is to be congratulated for providing a full Russian libretto with
English and German translations in the booklet. Curiously there is no synopsis.
However, there is an informative essay written by Alexandra Maria Dielitz.
All in all Tchaikovsky’s sinister masterpiece is given a performance
of real substance.
Michael Cookson
Previous review:
Simon Thompson
Support
us financially by purchasing this from |
|
 |
 |
 |
|