CPO have really enhanced the world of operetta lovers with their
series of rare works by the master. This is the fifth issue that
has been allotted me for review. In Die blaue Mazur Lehár
really turned things upside down by opening the proceedings with
the loving couple being married and the man then realising that
this life wasn’t meant for him. In the end everything is sorted
out – in some of his later operettas it isn’t. Formally it is
a bit of a departure with the central conflict presented in the
first act. Then comes the second part where the hero is absent
apart from in a dream sequence. In the third act all the problems
are resolved.
Is it a work worth
anyone’s consideration? I’m sure it is. This was one of Lehár’s
first successes after WW1. It was a hit in many theatres around
Europe at the time but never won a place in the standard operetta
repertoire. This seems to be its first complete recording. CPO
have recorded a number of other rarities of which I have reviewed
Schön ist die Welt (see
review), Eva (see review)
and Zigeunerliebe (see review)
during the last few years. Die blaue Mazur may not be
the forgotten masterpiece every operetta lover is waiting for
but it still has a lot to offer.
I have written at
length about Lehár’s rich orchestral language in earlier reviews.
It is related to Richard Strauss and Puccini and points forward
to that of Korngold which is especially apparent in the waltz
of the second act finale. The rather daring impressionist harmonies,
delicately arranged with celesta in the orchestral fabric, are
certainly ahead of its time in operetta terms. It should also
be noted that all three acts have extended finales, the one
in act I having more than twenty minutes of continuous music.
It may not be his most subtle score but he treats us to some
really fine melodies and besides some ravishing waltzes there
is in this ‘Polish’ operetta also a mazurka in the last act.
The title of the operetta, Die blaue Mazur may need an
explanation. ‘Mazur’ is short for mazurka, but why blue? The
libretto gives the clue. It is the last mazurka which is danced
at dawn when the sky is blue and a Pole only dances this mazurka
with ‘the woman whom he wants to claim as his own’.
Frank Beermann,
who also conducted Zigeunerliebe in this series, seems
to have good affinity with Lehár’s music, and chorus and orchestra
are on their toes. The recording is, unfortunately, a bit of
a problem. The spoken dialogue, of which there is quite a lot,
is so feebly recorded that I had to turn up the volume control
from my normal setting 14 to something like 23-24 to be able
to hear it properly. This also implied that as soon as the music
started I had to quickly turn it down to 14. I failed a couple
of times, resulting in my wife coming dashing down from upstairs,
wondering if I was going to blow up the house. I suppose the
producer wanted the voices to be equally balanced during song
as well as speech. The other option is to balance the voices
closer during the dialogue but this gives an unnatural feeling
of the singers running back and forth. Since domestic listening
is a bit unnatural anyway I still prefer that option. It’s like
zooming in on faces during intimate conversation in any movie
or TV-series. The problem is presumably less marked in a larger
listening venue.
Whether speaking
or singing the main soloists on this recording are excellent.
I have praised tenor Jan Kobow on several occasions before,
as a Lieder singer and also as a fine oratorio practitioner
in Haydn’s Die Schöpfung. Here he amply demonstrates
that he is also a force to reckon with in operetta: light, flexible,
unforced and beautiful singing and a fine sense of humour. Julia
Bauer complements him well with her warm soubrette voice and
lively acting. The leading couple, Blanka and Juljan, are well
contrasted to Bauer/Kobow and offer some really glorious singing.
Johanna Stojkovich has a powerful vibrant voice and sings with
great intensity and Johan Weigel sports a truly beautiful tenor
voice with ringing top. Hans Christoph Begemann’s warm lyric
baritone is a pleasure to listen to in the role of Clemens Freiherr
von Reiger.
CPO must be praised
for their enterprising exploration of the lesser known Lehár
operettas and this recording of Die blaue Mazur is a
worthy addition to the catalogue with some really outstanding
singing.
Göran Forsling
Joganna Stojkovich
(soprano) – Blanka von Lassin; Julia Bauer (soprano) – Gretl Aigner;
Johan Weigel (tenor) – Juljan Graf Olinski; Jan Kobow (tenor) –
Adolar (Engelbert) von Sprintz; Hans Christoph Begemann (baritone)
– Clemens Freiherr von Reiger; Michael Hoffmann (baritone) – Albin
Edler von Planting; von Hanschmann; Andreas David (baritone) – Leopold
Klammdatsch; von Freyhoff; Rudolf Tiersch (baritone) – Jan von Zastoja;
Kammerchor der Singakademie Frankfurt, Brandenburgisches Staatsorchester
Frankfurt/Frank Beermann 
