From the archives
George Hall dusts off this month’s selection of reissued and archival recordings
August round-up
A good starter collection of the music of the Swiss-american Ernest Bloch (1880-1959) focuses on those works on Jewish themes that made his reputation, in particular the ‘rhapsodie hébraïque’ Schelomo which has remained one of his best known compositions. The eloquent cello soloist is Zara Nelsova, who was particularly associated with the piece. She collaborates with the Utah Symphony under Maurice Abravanel, who also deliver an impassioned account of the Israel Symphony, while the New Zealand Symphony under James Sedares demonstrate the colourful variety of the Trois Poèmes Juifs. (Alto ALC 1477)
From the Royal Swedish Opera comes a live performance of Strauss’s Elektra. May 4 1996 marked the official farewell of the protagonist, dramatic soprano Laila Andersson-palme, who had sung 100 roles with the company. Her interpretation is substantial, always sung and never shouted, though she is sometimes taxed by Strauss’s extravagant demands. Alongside her stand Gunilla Söderström’s vehement Klytämnestra, Anita Soldh’s warmly lyrical Chrysothemis, Gunnar Lundberg’s bold and bracing Orest and Lennart Stregård’s characterful Aegisth. Conductor Siegfried Köhler gathers momentum along the way, but some of the smaller vocal performances could be bettered and the orchestra is somewhat scrappy. (Sterling CDA 1867/68-2)
Although there already exist three official suites from Prokofiev’s Romeo and Juliet, many conductors make their own selection, as Álvaro Cassuto does with the Orquestra Sinfónica Portuguesa; in his compilation, the movements are in the same order in which they appear in the ballet.
There’s a lot of competition in this repertoire, but the playing is neat and efficient, although the filler – Rimskykorsakov’s Russian Easter Festival Overture – could do with more precision and dynamism. The sound on these 1995-6 recordings is somewhat enclosed. (FHR FHR146) HHH
A very long way indeed from his Carmina Burana, Carl Orff ’s Prometheus is heard here in a
1975 Bavarian Radio concert performance given in celebration of the composer’s 80th birthday. A setting of Aeschylus in Ancient Greek, the score mixes song with declamation and uses an outsize orchestra of wind, keyboards (including four pianos), nine double basses and huge percussion section. The result can be distinctly rebarbative. The cast – led by Roland Hermann in the title-role, with Colette Lorand, Fritz Uhl and Josef Greindl – is heroic, valiantly supported by the Bavarian Radio Symphony Orchestra and female chorus under Rafael Kubelík. (Orfeo C240012)
In one form or another, The Beggar’s Opera is always with us; but there’s the eternal problem that the prime musical source – a wordbook with just a melodic line – means that everything (apart from the fully scored overture) has to be recreated anew with imagination and a secure sense of style. Back in 1979, this edition by Denis Stevens with his periodinstrument Accademia Monteverdiana may have had musicological authority, but it lacks vitality. Despite some good names – Nigel Rogers is the Macheath – the cast feels just too respectable for a group of criminals and their delinquent associates. Dialogue is not included, and the sound is rough. (Orpheus OPH401112)