NOTE POCO NOTE (little-known notes)

NOTE POCO NOTE

(little-known notes)

For reasons of brevity, the history of music tends to focus on the most important composers whose works have had the greatest influence on subsequent generations and are still widely performed and enjoyed today.

However, they constitute only a small fraction of known musical artistic production, at least of that which has reached us in written form. Alongside major figures such as Beethoven and Mozart, there have always been composers who were ‘minor’, without whom, however, the former’s greatness would be incomparable. These composers often left behind highly interesting works, but for several reasons they have been forgotten. Paul Dukas is a case in point: while his The Sorcerer’s Apprentice (also made famous by the film Fantasia) is well known, few have heard his other remarkable works.

Fortunately, compact discs and audio/video recordings are now widely available online, covering a broad range of repertoire that is not commonly performed in concert halls and opera houses. In fact, a reciprocal dynamic exists between the public and the programs offered: audiences are reluctant to embrace unconventional offerings and impresarios, and artistic directors prefer to play it safe by avoiding potentially unpopular choices. Consequently, productions are becoming increasingly standardized, with offerings limited exclusively to the most famous compositions — those considered the most representative works in the history of music. Furthermore, the tendency to attribute greater importance to the performers than to the compositions themselves is now well-established and should not be underestimated. Artistic directors think only in terms of ‘stars’ to hire, and audiences turn up enthusiastically to hear a successful performer, regardless of the piece being performed. In opera, the situation is even more peculiar, as the attraction is often the stage director themselves. They try (in my opinion, clumsily) to rekindle interest in productions that seek originality in staging through modernizations, abstractions, and reinterpretations. The result is that the same operas continue to be staged repeatedly, in improbable versions with direction that often exceeds the limits of the ridiculous. It is also worth noting that twentieth-century aesthetics still appear dominant and have not actually been supplanted by a new movement.

 Paul Dukas : The Sorcerer’s Apprentice

Thus, what is considered “beautiful” becomes “banal” from this perspective, while what most people find unpleasant, squalid, or even sordid, is considered “artistic”. For the aforementioned reasons, both recordings and concert programs necessarily focus on the great classics, limiting variety to a small number of popular titles. In my opinion, however, ‘new’ interpretations of the great classics do not produce new art. If today’s attention is focused almost exclusively on the performers (not to mention the directors in the case of opera), it is due to the lack of great new compositions. Therefore, we want to bring attention to rarely performed operas that have been almost forgotten by the public and critics for incomprehensible reasons.

Starting this week, Opera Gazet will offer a series of rarely performed operas by musicians of varying degrees of fame. Proceeding in alphabetical order, we will begin with the Spanish composer Isaac Albéniz.

Albeniz is a relatively unknown Spanish composer, famous primarily for his beautiful Iberia, which has been performed in both piano and orchestral versions. His operas have only recently been rediscovered and released on CD by prestigious labels such as Decca and Deutsche Grammophon, thanks to Maestro José de Eusebio. Albeniz’s style is clearly inspired by Wagner, with elements drawn from Spanish folklore throughout. Even before they were re-evaluated, his operas were worth listening to and admiring, especially Merlin, a true hidden gem.

HENRY CLIFFORD

Orch. Madrid Symphony Orchestra – José De Eusebio. Carlos Alvarez (Br.), Aquiles Machado (Tn.), Alessandra Marc (Sop.), Jana Henschel, (Mzsop.), Ana Maria Martinez (Sop.), C. Immler, A. Rodriguez, P. Gilabert

https://www.youtube.com/watch?v=bQ0SWNDTQT4

Henry Clifford is a three-act opera that was reconstructed by the conductor and musicologist José de Eusebio. It is an impressive historical fresco full of melodic innovations, such as the beautiful duet in the first act and the tenor aria in the second. The many choral scenes, the fairies’ delicate dances, and the preludes and interludes are equally incredible. This excellent performance of a rare opera is worthy of re-evaluation.

Carol Vaness (Sop.), Placido Domingo (Tn.), Jane Henschel (Mzsop.), Carlos Chausso (Bs .), José Antonio Lopez (Br.)

https://www.youtube.com/watch?v=NDZ2RnaCmu8

Compared to Henry Clifford, Pepita Jiménez is less majestic and more ‘intimate’, constantly teetering between drama and farce — an ambiguity that the open ending does little to clarify. As the subject matter demands, Iberian music plays a much greater role here. Relatively short at about an hour and a half, this opera alternates brilliant moments with dramatic tension, as well as folkloric and romantic elements. The interlude between the two acts, which replaces the missing overture, is noteworthy, as is the rousing conclusion.

Carlos Alvarez (Br.), Placido Domingo (Tn.), Jana Henschel (Sop .), Ana Maria Martinez (Sop.), Carlos Chausson (Bs .), Christopher Maltman, (Br.) J. Franco, J. Bou, J. L. Ferrero

https://www.youtube.com/watch?v=oUOQa-QoDRI

Merlin is based on the classic legend of the wizard Merlin, the rise of King Arthur, and the plots of the evil Morgan le Fay. Considered to be Albéniz’s masterpiece, it was intended as the first part of a planned trilogy based on the Arthurian myth, representing a serious attempt to create a Spanish national opera. Its structure is Wagnerian, making use of ever-changing leitmotifs, mostly delivered by a particularly brilliant and rich orchestra. Unfortunately, the trilogy is incomplete (only a few fragments of the second opera, Lancelot, remain), but hopefully Merlin will gain greater prominence in opera programs. The live DVD differs from the Decca CD version in terms of the main roles, which include the prestigious presence of Plácido Domingo. The set design is ‘symbolic’, but acceptable in its schematic nature. The staging is enhanced by corps de ballet and solo dancers performing the mimed roles of Guinevere and Lancelot. The captivating music is always supported by an enveloping yet very present orchestra. The third act is particularly successful, with dance numbers that are sometimes delicate and sometimes overwhelming. The conclusions to each act are masterful, especially the third with its Wagnerian grandeur. I cannot recommend listening to this rediscovered masterpiece highly enough.

Tiziano Virgili