Janáček’s operas have become recognised as some of the finest
of the 20th century, and his reputation is more often
than not enhanced by each new production that hits the boards
or the recorded catalogue. We’ve recently been treated to a fine
recording of The
Excursions of Mr Brouček, and my reference for Jenůfa
is the venerable 1977-78 Supraphon recording with the Brno
Janáček Opera forces under František Jílek.
The best known of
Janáček’s ‘suites from the opera’ would have to be that
of the Cunning Little Vixen, which, as well as From
the House of the Dead was also arranged into a suite by
František Jílek, but has appeared most frequently in a re-orchestration
by Vacláv Talich. Significantly in this context, Sir Charles
Mackerras returned to the original for his own recording, and
in the same way Peter Breiner’s impressive arrangements also
have to stand up against Janáček’s own orchestral sound.
Without a comparison
of the scores it’s not a straightforward business, untangling
differences between originals and arrangements in detail, and
I don’t propose to make the attempt here. It may partially be
due to differences in modern recording, ideal concert hall conditions
rather than the ‘Opera house’ situation, or at the very least
a recording set up which no longer has to take a variety of
singers into consideration, but these suites sound more sumptuous
and grand than anything I’ve heard from these pieces in the
past. Janáček’s own orchestral palette in both of these
operas is rich and full of fascinating colour and variety, and
Breiner takes all of this on board. Take something like Are
you feeling sad, Jenůfa however, and there is none
of the restless urgency of that opening as you hear it from
Jílek. Much as I admire the playing and sound, this is a rather
well-fed Jenůfa, and there are few places here where
the tragic drama of the opera isn’t covered with some kind of
glitzy, sometimes almost Hollywood gloss.
The same comments
apply to Brouček. You only have to compare the magical
twists, turns and quicksilver contrasts of the opening under
the baton of Jiří Bělohlávek with the rather more
thick and ponderous tread of the same passages with the New
Zealand Symphony Orchestra. Agreed, we’re not entirely comparing
like with like, and as concert suites rather than accompaniments
to stage drama these arrangements work very well indeed. I like
the creative and convincing way Breiner has brought sometimes
disparate material together to create new movements. These arrangements
and performances do however paint a rather different picture
of Janáček’s operas than the one you might hope to hear
in an opera production.
Some collectors of
recorded music may not have much time for warbling opera singers
on CD, and will be missing some wonderful music as a result. Suites
like these can release fine compositional work from their dramatic
context and win new audiences as a result. For this I applaud
Peter Breiner for his work on these two operas, and will certainly
be on the lookout for subsequent volumes. For me, the big-boned
symphonic approach does remove some of the intimacy and excitement
of Janáček’s works as original operas, and I think I would
have preferred a little more lightness of touch and swiftness
of pacing to help bring this feeling back. This said, these are
fine performances and stunningly dynamic recordings, with some
fine low drum rumbles and plenty of sparkle and colour in the
spectrum. If you know and love the operas already this disc probably
won’t further enhance your appreciation, but if you want some
refreshingly new orchestral music and an alternative view on Janáček
then this is a very strong contender indeed.
Dominy Clements
Vesa-Matti Leppanen
(violin)*
