The Naxos Opera
Explained series is part of Naxos
Educational, an innovative section
of the Naxos catalogue that also includes
a Life and Works and Classics
Explained series. As yet Naxos have
erred on the side of caution and conservatism
by not delving too deeply into lesser-known
composers or works. Presently only about
half a dozen composers are included
and roughly the same number of works.
One hopes that in due course this series
will expand to include all the great
composers and a significant number of
slightly less well-established classics.
The Opera Explained series includes
about twenty titles ranging from Donizetti
and Bizet to Verdi and Puccini. The
series has begun to branch out a little
and we now have an introduction to Beethoven's
Fidelio as well as to Wagner’s
Flying Dutchman. One hopes that
less familiar and more difficult operas
will be included, and would also hope
that British operas are better represented
in due course.
Of course, there are
many sources and introductions to opera.
They range from series such as those
by Grove and Kobbé, as well as
books dedicated to individual operas
or composers. However, many potential
opera-goers are put off not only by
the lack of knowledge of the story but
also by unfamiliarity with anything
but the best-known arias within the
opera. Opera also tends to be rather
elitist which makes going to an unfamiliar
opera rather daunting for the novice.
Series such as this, which include an
introduction to the opera as well as
musical illustrations, therefore serve
a very useful purpose. Over the years
I have become familiar with the Glyndebourne
Opera Bites series on CD which
now runs to over 30 titles, most considering
two works on one CD. There is, for example,
an excellent introduction to most of
Benjamin Britten’s operas including
one on Owen Wingrave and the
Turn Of the screw, with texts
by Michael Kennedy. I can heartily recommend
that an opera-goer unfamiliar with these
operas listens to this disc (as well
as others in the series) to get an idea
of what the operas are about. One notes
that Opera Bites does a rival
version of Orfeo ed Euridice that
also includes Iphigénie and
has about the same time allocated to
the work itself as on this Naxos disc.
Gluck's Orfeo ed
Euridice is the latest in the Naxos
Opera Explained series. It is
written by Thomson Smillie and narrated
by David Timson, as is the case for
the whole of this series so far, thus
differing from the Opera Bites series,
which generally uses different authors
and narrators for each disc. The disc
lasts slightly over an hour and begins
with a consideration of the legend of
Orpheus and Eurydice and the many different
operatic versions of the myth, including
that by Monteverdi. Significantly, Gluck
decided to use the version of Greek
mythology that has a happy ending! One
of the most interesting parts of this
background was the reference to castrati.
The potential of what was essentially
a woman's voice in a man's body and
the enormous vocal range, power and
tone was considerable, and was fully
exploited by contemporary composers.
One is then left wondering how we will
ever be able to get a satisfactory performance
of some of these works today. (The role
of Orpheus is now usually taken by a
contralto). It was enlightening to hear
that castrati were employed by
the Vatican well into the last century,
and the disc includes a snatch of a
recording made in 1913 by the last of
the castrati to be employed by
the Vatican. There is also a significant
biographical note on Gluck and his tremendous
influence on the transition of opera
from Monteverdi's day through Mozart
and then well into the 19th century.
There is also a short reference to the
use and abuse of modern instruments
in the portrayal of operas written in
the 18th century. This is obviously
a controversial subject but it is welcome
to have some reference to it. However,
I was personally a bit peeved by the
statement that this opera is the first
modern opera and to Che faro senza
Euridice as the first great aria
in opera. In the latter case, certainly,
this acclamation should be given to
Dido's lament in Purcell’s Dido and
Aeneas!
Following the background
information, about 35 minutes is allocated
to a description of the opera itself,
punctuated by short musical excerpts.
This gives one a very good idea of the
opera as it unfolds. However, it would
have been nice to have heard a little
bit more of the music than the brief
excerpts allowed, although the fact
that the full opera itself is available
on another disc from Naxos using the
same performers solves this problem.
The performance is by the Drottningholm
Theatre Chorus and Orchestra conducted
by Arnold Ostman, and the highlights
of the opera as presented here are very
well sung and played.
All in all, this is
a well-presented disc that offers both
interesting and useful relevant information
as well as a chance to become familiar
with the music without having to listen
to the entire piece. Whilst personally,
I would prefer to become acquainted
with an opera through sitting through
the entire work, this disc certainly
has its place and could be an invaluable
source for first time (or nervous!)
opera-goers.
Em Marshall
NAXOS OPERA EXPLAINED 8.558122 [66.17]