Carl ORFF (1895-1982)
Carmina Burana [60:00]
Ludwig Van BEETHOVEN (1770-1827)
Leonore Overture No. 3, Op. 72b [15:29]
George Frideric HANDEL (1685-1759)
Messiah, Hallelujah Chorus (arr. Sir Eugene Goossens) [5.13]
Sally Matthews (soprano); Lawrence Brownlee (tenor); Christian Gerhaher (baritone)
Berlin Radio Choir; Des Staats Children’s Chorus
Berliner Philharmoniker/Sir Simon Rattle
rec. 31 December 2004. Symphony Hall, Berlin.
Picture Format: 1080i Full HD; Aspect 16:9
Sound: PCM Stereo
Booklet notes in English, German, French
Subtitles in English, German, French, Spanish, Japanese
EUROARTS Blu-ray 2053674 [89:00]
It is not often that one pays one’s money and gets more than what
it says on the box front. It is so here.
The reason I obtained this disc was to hear the performance of the title
work, Carmina Burana; that is all that is shown on the front.
Closer investigation revealed the programme also included a performance
by the BPO under Rattle of Beethoven’s Leonora Overture No. 3 along
with a full chorus singing Goossens’ arrangement of the Hallelujah
Chorus from Handel’s Messiah.
The Leonora Overture No. 3 as well as being a regular concert
piece is often used prior to the second act of the composer’s opera
Fidelio, as well as being one of his workings for the original
version of that opera. Hearing it took my ‘mind’s ear’
back to a performance of Fidelio at Covent Garden under the late
Josef Krips. Conducting throughout without a score he brought such vibrancy
and vitality to the whole I was overwhelmed and it has remained my benchmark
ever since. This despite considerable affection for the disc versions
by Klemperer and Kleiber fils. In that company it is no shame
on Rattle that he (CH.2) does not disturb my front-runners, his being
more routine if, with this orchestra in particular, played with smooth
aplomb. Good enough as a fill up, though.
The ‘meat’ of this New Year’s Eve celebratory concert
is Orff’s vocally challenging and intensely dramatic cantata Carmina
Burana. I have always found it interesting and particularly demanding
for the singers, yet have heard it only a handful of times in the past
fifty years. Its challenges for the vocalists may contribute to this.
Equally Orff’s espousing of Nazi ideology in the Second World War,
during which he was reputed to have betrayed close colleagues, tainted
his reputation more than the likes of Richard Strauss or Karajan and may
have contributed to the neglect.
The texts of Carmina Burana are drawn from thirteenth century
Latin poems mingled with French and Bavarian dialect German. The insistent
rhythms and ostinato repetitions as well as the absence of atonal music
contribute to its seeming physicality. The work is divided into three
principal sections. These are framed by a prologue (CHs.2-3) with chorus
and piano accompaniment and an Epilogue (CH.27) where varying dynamics
and the forward pulse of the music, led by the timpani, is thrilling.
The Ecce gratum (CH.7) really has Rattle on his toes as the orchestra
responds to his beat and the superb diction of the chorus is outstanding.
If orchestra and chorus get top marks the singers are no mean rivals in
that examination. Both male singers intrigued me, with Lawrence Brownlee
going very high in the passagio in Olim lacus colueram (CH.15)
without blanching his tone. Was it a question of ‘follow that’,
I wonder, when baritone Christian Gerhaher sings Ego sum abbas
(CH.16) with full power and superbly varied dynamics. A few minutes later
he takes the high lyric Dies, nox et Omnia in Part 3 in falsetto.
In between such vocal virtuosity, Sally Matthews could easily lose out
- not so. To quiet and muted trumpets her clear and well articulated lyric
soprano sings with long phrases (CH.17) and later soars with great variety
of expression (CH.19). All this is not to forget the superb singing of
the large choral forces and the particularly the children’s choir,
their faces and chests reflecting pride. The chorus are particularly good
with the piano pulsating rhythm of Veni, Veni, Venias (CH.22).
At the end the applause is warm, extended and fully deserved. Rattle,
justifiably asks how to follow that, as an encore. With all fully briefed
he takes the combined vocal forces to give a thrilling rendition to the
renowned Hallelujah Chorus, played in the edition arranged by
Sir Eugene Goossens; a fitting conclusion to a remarkable celebratory
concert.
As far as I can recall this issue is the first time on Blu-Ray for Carmina
Burana. Having recently seen and heard a Blu-Ray of a 1992 Berlin
Concert with a full range of sound formats, I am surprised that this is
stereo only, adequate though it is. Whilst the visual difference between
1992 and 2004 is considerable it is to be noted that the most recently
recorded Blu-Ray issues, particularly those filmed in HD, are also a further
measure better.
Robert J Farr
Previous review (DVD): Michael Cookson
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