The literary works of Maurice Maeterlinck inspired many musical compositions,
with his plays being taken up by composers, who subsequently used
them for their operas. His Pelleas and Melisande was used
by Debussy for his opera, whilst Fauré, Sibelius and Schoenberg
used it as a basis for orchestral works. In 1907, Rachmaninov was
attracted to Monna Vanna, Maeterlinck’s three act historical
drama, set in Pisa, Italy and published in 1902. He decided to use
it for an opera, in what was to be his last attempt at composing in
this genre. Unfortunately, his other operas have never had any universal
recognition. At the time, the composer was working on his Second Symphony
and a piano sonata. It was Mikhail Slonov (1858-1930) who adapted
Maeterlinck’s play for this purpose.
Rachmaninov eventually abandoned work on the opera when he realized
that copyright problems stood in his way. Maeterlinck had written
a Monna Vanna libretto for the French composer Henry
Fevrier (1875-1957) and had granted him the rights for an opera.
Thus, Rachmaninov, avoiding a possible tangle over copyright issues,
gave up on the project. All that was completed was Act I in piano
score, and some sketches for Act II.
Many year later, Rachmaninov’s sister-in-law Sophia Satina (1879-1975)
asked the conductor Igor Buketoff to orchestrate Act I, and this was
eventually premiered in New York in 1984. Some years later, in the
early ’nineties, Buketoff conducted the Iceland Symphony Orchestra
in an English version of this realization for Chandos (CHAN8987);
it runs for 42:38 against Ashkenazy’s 38:06. Unfortunately,
I have never heard it. What we have here is the first Russian version,
orchestrated for this recording by Gennady Belov (b.1939).
Unable to make a direct comparison with the Buketoff orchestration,
I can say that Gennady Belov has done a sterling job here. The expert
scoring showcases all the orchestral colours and sonorities. He is
acutely sensitive to the soloists with his orchestration, which is
lightly scored and transparent in accompaniment. Those expecting ‘big
tunes’, however, will be disappointed, and having listened to
the recording twice through, there is nothing of the music that remains
memorable.
Sound quality and balance are ideal. Ashkenazy inspires the Moscow
Conservatory Symphony Orchestra to play with great commitment, and
he achieves a heady mix of drama and lyricism. The soloists are first
rate, and I would single out Evgeniya Dushina (soprano) and Vladimir
Avtomonov (baritone) for special mention.
In the second half of the CD, Ashkenazy is joined by the Finnish lyric
soprano Soile Isokoski in seven of Rachmaninov’s songs. Ashkenazy
is no stranger to the composer’s song oeuvre having recorded
the complete set with Elisabeth Söderström (Decca London
436 920-2, recorded 1974-75). I have recently reviewed the complete
songs with seven different soloists and Iain Burnside at the piano,
on Delphian.
Rachmaninov composed his songs between 1890 and 1916. When he left
Russia in 1917, he never returned to the genre again. Several reasons
can be given for this for this; financial considerations played a
part, but so too his estrangement from the Russian language, its verse
and the singers who stimulated his creativity.
On the whole this is a pleasing selection. Isokoski proves an ideal
interpreter, characterizing each song with sensitivity. However, there
are one or two minor caveats. In Vocalise, Op. 34, No.14,
she doesn’t sustain the long legato line as effectively as Ekaterina
Siurina in the Delphian set. Neither is Ashkenazy’s accompaniment
as sensitive and discreet as Burnside’s. In some of the high
passages, I thought Isokoski’s voice tended towards a slight
hardness. Yet, these are minor criticisms and should not put the prospective
buyer off what is an admirable disc. The recording engineers have
achieved exemplary sound quality, with perfect balance between singer
and pianist. The piano sound is a great improvement on the 1970s Decca
set. Russian texts and translations are provided for both the opera
and the songs. Informative booklet notes set the context.
Stephen Greenbank
Track & performance details
Monna Vanna
(unfinished opera, 1908, orch. Gennady Belov) [38:06]
Moscow Conservatory Opera Soloists: Evgeniya Dushina, (soprano); Edward
Arutyunyan (tenor); Dmitri Ivanchey, (tenor); Vladimir Avtomonov,
(baritone); Mikhail Golovushkin, (bass)
Moscow Conservatory Students Choir and Symphony Orchestra/Vladimir
Ashkenazy
Songs
By my window, Op. 26/10 [1:58]
Sad Night, Op. 26/12 [2:05]
The Lilacs, Op. 21/5 [1:32]
The rat-catcher, Op. 38/4 [2:24]
Vocalise, Op.34/14 [5:40]
How nice this place is, Op. 21/7 [1:46]
Dream, Op. 38/5 [3:01]
Soile Isokoski (soprano)
Vladimir Ashkenazy (piano)
