One of the most popular
of operas, Carmen has a recording
history of nearly a century. This 1954
performance comes, chronologically,
about half way. Why would you want to
buy a recording of this French opera
made half a century ago, sung and spoken
in German and without an established
"historical performance" reputation?
The notes in the booklet by Christoph
Zimmermann suggest a number of reasons,
the two chief ones being the singing
of Rudolf Schock as Don José,
and the conducting of Eugen Jochum.
Rudolf Schock was a
versatile tenor whose lyric tone suited
him for Mozart. In addition his strong
upper register enabled him to succeed
in heroic roles such as Lohengrin. In
Puccini he was a notable Cavaradossi
and he had sung Rodolfo to Elizabeth
Schwarzkopf’s Mimi at Covent Garden.
After this Bavarian Radio recording
of Carmen he increased his popularity
by building a career in light opera,
something that has perhaps coloured
his reputation and led to a "misguided
perception of Schock as a breezy operetta
tenor". In Don José’s famous
flower song in Act Two the beauty of
his lyric side is a joy to hear but
as the music climaxes we can also hear
the heroic potential. Not many tenors
are gifted with this particular vocal
blend; it is usually more of one and
less of the other. For example, take
Jon Vickers in the same song. In spite
of beautiful phrasing he tends to sound
heroic all the way through.
Georgine von Milinković
in the role of Carmen had already partnered
Schock on the stage in Vienna two years
before. The Croatian mezzo had a reputation
as a Wagner/Strauss singer and it is
a voice-type that is not often heard
in the role but its richness gives weight
to the performance.
Elizabeth Grümmer
had a considerable following, much admired
for beauty of voice, clarity of diction
and dramatic power in operatic roles.
As Micaëla she completes an experienced
trio of stars who at the time were all
around forty years of age and at the
height of their powers. All three, coincidentally,
died in 1986.
The combination of
voices on display here, and the German
language in which they sing (and speak)
did, disconcertingly, make me feel I
was in a musical world somewhere between
Viennese operetta and Humperdinck’s
Hansel and Gretel. As far as
we know, Bizet had no misgivings about
this famous French opera being sung
in German for in the weeks after the
premier in 1875, and shortly before
his death, he was setting out to prepare
sung recitatives for a German performance
in a translation by the composer Julius
Hopp. The spoken German on this recording
is closer to the spirit of Bizet’s opéra
comique origins and the studio recording
lends an intimacy to the dialogue that
is not often possible on stage.
For me, the greatest
strength of the show is Eugen Jochum’s
conducting of the Bavarian Radio Symphony
Orchestra. Here is a conductor who had
a reputation as a solid, measured interpreter
of the hefty scores of Bruckner and
Wagner. Those who perhaps think of him
that way will be confounded by this
Carmen. It sizzles. Listen to
the opening prelude and you will hear
an energetic spring that eludes many
another conductor, even though they
are likely to be going faster. I thought
that his judgement of pace throughout
was absolutely sure and in keeping with
the development of the narrative. The
orchestra responds magnificently. It
is crisply rhythmic in the dance-related
music but in slower passages there is
beauty in the playing that matches the
voices well. The studio-recorded mono
sound offers good balance between singers
and orchestra, both sounding quite close.
Any hiss has been largely removed without
apparent loss of bite.
This Carmen
is never going to sound idiomatic, but
once you get used to the German there
is much to enjoy. Having become available
on CD for the first time, I suspect
many Carmen connoisseurs may
wish to own it, not just for historical
or curiosity value but for the fine
performance. It can also be purchased
very cheaply. This is not, though, for
the first time Carmen buyer,
especially since no libretto is provided.
Even those who know it well in French
may find that a problem.
John Leeman
Choir and Symphony Orchestra of the Bavarian
Radio, Munich/Eugen Jochum 
