Despite the programme’s seemingly random selection, the
liner-notes tell us that since Italy does not have a “Johann
Strauss” composer, Maestro Masur took it upon himself
to choose a program to allow “astonished listeners to
discover just how many waltz rhythms in 3/4 and 3/8 time may
be found in 19th-century operas, even if those rhythms
are sometimes concealed or obscured.” Perhaps if I had
read the notes before playing the DVD, this would have drawn
more of my attention, but I cannot say it stood out for me.
Nor did I see any sign of astonishment on the faces of audience
members; the few times the camera panned to their faces, they
tended to look rather disengaged. However, I very much enjoyed
seeing the inside of the hall, which burned down in January
of 1996 and was rebuilt to look exactly as it was before. It
is an opulent, baroque space, very much a work of art itself.
The notes state that the restoration allowed acousticians to
improve the acoustics greatly, and, indeed, the sound is one
of the chief glories of this production.
Orchestra, chorus and soloists are all in fine form, though
tenor Joseph Calleja often produced a closed, pushed sound above
the stave that was, at times, hard to listen to. Soprano Fiorenza
Cedolins has a rich voice and an engaging on-stage personality,
well matched by bass Roberto Scandiuzzi. Orchestra and chorus
perform with plenty of energy and refinement, though one would
never confuse them with their colleagues in Berlin, Vienna or
La Scala. Masur’s interpretations are very much middle-of-the-road:
everything is in its place, as fidelity to the score is very
much a part of Masur’s conducting persona. Yet his minimal
use of rubato and tight control of the orchestra produced performances
that were literal, sometimes unyielding and low on passion.
Surely Verdi, Donizetti, and Puccini intended their melodies
to have greater elasticity, to break free of the bar line and
soar a bit more? Certainly there is more to this music than
Masur and his players allow us to hear. While the two selections
by Mozart may seem like odd bedfellows with the other musical
selections, 2006 was the 250th anniversary of Mozart’s
birth, and as anyone who attended a classical concert then knows,
it was almost impossible not to hear Mozart that year.
We also see two dancers and a Harlequin perform in a few places,
taking us away from the musicians. I know the New Year Vienna
Philharmonic broadcasts do a similar thing, and I have never
understood why. It seems distracting and somewhat silly.
The video direction is fine, and unobtrusive, save for the time
between selections. During applause and stage re-arranging,
a cameraman is encouraged to move quickly around the floor of
the hall, panning the camera at odd angles. Is this another
way for the viewer to appreciate the beauty of the room? Is
it so we can watch members of the audience suddenly shift in
their chairs to avoid being run over by the camera? Whatever
the rationale, it is annoying and completely unnecessary. As
to the performers, the soloists are the most enjoyable to watch,
because they interact with one another and the audience. Both
orchestra and choir seem disengaged because they don’t
move with the music. There are surely some teachers who would
argue that the best technique involves a minimum of movement.
Yet if a person decides to watch a performance on DVD,
then part of that experience should include seeing performers
fully engaged with what they are doing. How the chorus can sing
“Va pensiero” so beautifully yet remain so immobile
is a mystery to me; is this really the chorus that Italians
consider an unofficial national anthem? One would never know
that from watching this performance. Finally, Kurt Masur, for
all his excellence as a musician, is not the most engaging conductor
to watch: his arm movements (conducting without a baton) often
seem jerky, and are restricted in front of his body. This would
hardly prove bothersome, except that his face remains mostly
expressionless as he conducts, save for a few eyebrow lifts
and the occasional gentle smile. Again, one may argue that this
should not matter if the music-making is great - though I would
suggest that the most inspirational conductors have faces that
are constantly communicating - but this DVD is meant to be viewed,
and Masur’s dour expression does not make for pleasant
repeated viewing.
With no extras, no subtitles, and less than an hour of music,
this is a disappointing release.
David A. McConnell
Performance details
Giuseppe VERDI (1813-1901)
La forza del destino: Overture [8.19]
I Lombardi alla prima crociata: “O Signore, dal tetto
nation” (Coro) [4.28]; “La mia letizia infondere”
(Oronte) [2.38]
Giacomo PUCCINI (1858-1924)
Tosca: “Vissi d’arte” (Tosca) [4.48]
Wolfgang Amadeus MOZART
(1756-1791)
Le nozze di Figaro: Overture [4.55]
Don Giovanni: “Là ci darem la mano” (Don
Giovanni, Zerlina) [4.21]
Gaetano DONIZETTI (1797-1848)
Don Pasquale: Sinfonia [6.50]
L’elisir d’amore: “Una furtive lacrima”
(Nemorino) [4.53]
Giuseppe VERDI
Nabucco: “Va, pensiero” (Coro di schiavi ebrei)
[6.23]
La Traviata: Brindisi: “Libiamo me’ lieti calici”
(Alfredo, Coro, Violetta) [3.28]
Fiorenze Cedolins (soprano); Joseph Calleja (tenor); Roberto
Scandiuzzi (bass)
Orchestra and Chorus of the Gran Teatro La Fenice/Kurt Masur
ARTHAUS MUSIK 
107283 [55.00] 