Hans Werner HENZE (1926-2012)
Der Prinz von Homburg (1960 rev. 1991)
Friedrich Wilhelm, Elector of Brandenburg, Štefan Margita (tenor)
The Electress, his wife, Helene Schneiderman (mezzo-soprano)
Princess Natalie of Orange, his niece, Vera-Lotte Böcker (soprano)
Prince Friedrich Artur von Homburg, cavalry general, Robin Adams (baritone)
Field Marshal Dörfling, Michael Ebbecke (baritone)
Colonel Obrist Lottwitz, Friedemann Rohlig (bass)
Count Hohenzollern, Moritz Kallenberg (tenor)
Staatsorchester Stuttgart/Cornelius Meister
rec. live, March 2019, Staatsoper, Stuggart
German text included, no translation
CAPRICCIO C5405 [43:03 + 64:45]
Henze was the leading composer of German opera in the years after the war but the representation of them in recordings has been patchy, though a few can be found on unofficial live opera labels. This version of Der Prinz von Homburg turns out to be the first on CD, though there was a DVD in 1994 on Arthaus. So, almost regardless of the performance, this is very welcome.
The libretto, by Ingeborg Bachmann, is based on the last play by Heinrich von Kleist, a contemporary of Goethe and Schiller and a respected playwright, also the writer of stories and essays. It is based on a real incident which happened during the battle of Fehrbellin in 1675 between the forces of Sweden and Brandenburg. With his cavalry Homburg attacked the Swedish army against orders, which led to victory but also aroused the disapproval of the Elector of Brandenburg, his commanding officer, for insubordination. Kleist freely used his imagination to turn this incident into a play and Bachman trimmed it down to form a compact libretto.
At the beginning, Homburg is dreaming of the princess Natalie and wakes to find her glove in his hand, part of a tease by the Elector. He is still daydreaming when Field Marshall Dörflin explains his plan for the battle and does not hear it. He leads the charge in the battle. There is an unfounded rumour that the Elector is dead, but he appears and says he will court-martial the officer responsible for the charge. Homburg is sent to prison and his friend Hohenzollern comes to visit him and tells him that he will be sentenced to death. He cannot intercede but Natalie can and does and Homburg learns that the decision is his. If he thinks the sentence unjust, it will be cancelled. He does not think it unjust. Natalie tries to use the troops she has control over to release him. The Elector appreciates that he has made his point and tears up the death warrant, but does not let Homburg know. He is taken out for execution but his blindfold is removed and he is reprieved. He is given the garland of victory and the hand of Natalie in marriage.
The music is in an eclectic idiom which draws both on German musical traditions, such as Mahler and Berg, but also from Stravinsky in its rhythmic vitality. It is quite lightly and transparently scored, partly because this is the 1991 revision with reduced orchestration, so that the voices come over well. The musical interludes between the scenes are particularly attractive.
The performance I would describe as workman-like. The cast is largely German, as one would expect, with the exception of the title role, which is taken by Robin Adams, an English singer who has an international career. He makes an eloquent Homburg, particularly in the scene where he expresses his fear of death. Vera-Lotte Böcker makes an affecting Natalie, and of the other parts I was particularly taken with Moritz Kallenberg’s Hohenzollern. The recording is taken from a live production and everyone concerned is used to working together and this comes across. Cornelius Meister conducts with authority and the orchestra plays well. The sound is very acceptable.
The booklet contains an essay by Henze, another one from the opera house programme, a synopsis and biographies of the performers. All these are provided in both German and English. The libretto, however, is in German only and, my German being rudimentary, I sometimes struggled to follow the details of what was going on. Apart from that, the discs are nicely presented in a neat box. We are indebted to Capriccio for giving us many rare operas, and mostly providing a translation with the libretto, so I urge them to reconsider their policy on this, and perhaps next give us another Stuttgart production, Henze’s König Hirsch in the only complete production there has ever been and which goes back to 1985.
Stephen Barber
