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Reviews from other months
LIZST AT THE OPERA Vol. 6 'La finacee' Fantasy. Paraphrase on Ernani, Fantasy on 'Les Huguenots', Fantasy on 'Sonnambula', 'Chernomorets' March from 'Russlan and Ludmilla'Valse and caprice, 'Tannhauser' Overture, Fantasy on 'I Puritani', Fantasy on 'Der Freischutz', Reminiscences de La Scala.  Complete Music for Solo Piano Volume 54   Leslie Howard: Piano Hyperion CDA67406/7 145m DDD.

 


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TITANIC OPERATIC LIZST

Hyperion end this mini series of operatic Lizstian works with a bombshell selection that promises to hold the listener for hours on end, such is the variety and excellence of these operatic transcriptions. 'La fiancée' is perhaps quite unknown but Lizst's devilish transcription of it has one completely mesmerized by the intrinsic melodies and dashing wizardry that are the main characteristics of the opera transcriptions. 'Ernani' is obviously much more famous and the Verdian melodies find suitable scope in such keyboard expression although I'm not sure that Howard's is the last word on this piece.

An interesting unpublished version of Meyerbeer's 'Les Huguenots' is even more enticing and contains a better arrangement than the previous versions, something which is espoused in Howard's scholarly notes. Another 'extra' version of Bellini's 'La Sonnambula' appears here and one can only marvel at the height of Lizst's inspiration and capability in making such music sound so utterly pianistic. There is also Russian charm and a sense of joie de vivre in the 'Russlan' transcription. The 'Valse et Caprice' contains elements of Lizst's better style, all fused into such a charming whole that I was almost singing the tunes after a few repeated listens. Howard's marvelous playing adds to the excitement and virility of the piece.

This brings us to the inimitable arrangement of Wagner's 'Tannhauser' Overture. It is quite amazing to realize how such a vividly orchestral work can sound so incredibly beautiful in a pianistic guise. Howard's slow tempo adds to to the grandeur and nobility of the piece, thus creating an unforgettable sensation in the middle of the Pilgrim's Chorus theme and the headlong rush into the final chords. After such fireworks, the somewhat overlong and occasionally boorish melodies of 'I Puritani' may seem to sound cheap by comparison but repeated listening will make one appreciate this titanic music much more. At times it seems that these arrangements rather grow on you!

The final two works on disc are truly gargantuan in their range and scope of expression. It is tantamount to artistic suicide to learn that the Weber fantasy on 'Der Freischutz' is unpublished. Such is the wealth of Lizst's hugely inspirational writing and brilliant treatment of the main themes from this opera, that one could almost sit as in a trance just letting the piano sink into one's senses! Howard throws everything into the piece, his double-stops, pedaling and harmonic fireworks are truly spellbinding, one almost imagines the fire of Lizst himself at the keyboard. I would single this piece as one of the major discoveries in this splendid series.

'Reminiscences de La Scala' is an artistic pot-boiler, full of some wonderful Latin warmth and melody although ultimately one can see Lizst as a bit of a vulgar critic here. He was obviously using the Milanese for his virtuoso display and one can understand why it has remained unpublished, also probably due to the demise of Mercadante and a host of other unknown names from the dusty season of La Scala in 1837. Leslie Howard's playing throughout the volume is as consistent as always, that is quite superb at all times. A worthy conclusion to the Lizst at the Opera series and another jewel in Hyperion's legendary series dedicated to the greatest pianist/composer of all time.

Reviewer

Gerald Fenech

Performance:

Sound:

Reviewer

Gerald Fenech

Performance:

Sound:

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