Rousseau: Le Devin du village

Opera no 101

Rousseau: le Devin du village

Soloists

Orchestra de chambre Louis de Froment

Louis de Fromet

Nielsen: Saul and David

Opera no 100

Nielsen: Saul and David

Soloists

Danish National Sympbony Orchestra and Choir

Neeme Jarvi

This is the 100th opera in this project. When I started I set myself the task of listening to 100 operas during the year. I didn’t really know how long it would take to get to no 100 but I certainly didn’t expect to arrive at this point by early August. It has been a fascinating experience so far and I will continue the project through to the end of the year and see where I get to = there are plenty of other composers waiting in the wings and I won’t be short of material.

Last year Nielsen’s Maskarade https://andrew365newpieces.blogspot.com/search/label/Nielsen was one of the highlights of my 365 project so I was looking forward to hearing his other opera this time round. I was not disappointed. This was another very impressive work. The two operas are very different. Maskarade is light and airy and fully of delightful folk-inspired music. This opera by contrast is intense and serious. It packs quite a punch from beginning to end and has some impressive climaxes at the end of each act. Perhaps most notable is the choral writing which is thrilling in a way that in some ways in reminiscent (though the styles are quite different) of the chordal music in 19th century Russian Opera. There are some long orchestral interludes and I suspect that on stage the piece might be rather static - the big fugual section is exciting to listen to but might hold up the stage action. But judged purely as an aural experience the opera had me griped from beginning to end.

This is the end of this block of nationalist operas with emphasis on Scandinavian music. I’ve enjoyed exploring a repertoire I knew very little about but it is time to move on.  As I look back at the first 100 operas I find that my coverage of 19th century operas had dominated my listening. That is not a great surprised as that a real area of interest for me, but I want to more away from that century for a while. SO for the next block I will look at filling in some of the gaps in 18th century opera. 

Peterson-Berger: Arnljot

Opera no 99

Peterson-Berger: Arnljot

Soloists

Stockholm Philharmonic Orchestra

Okko Kamu

This continues my exploration of Scandinavian opera. Peterson-Berger was an important figure in late 19th century Swedish music. As well as being a teacher and composer he was also a critic and here is link to Stenhammer’s opera in this project. Peterson-Berger wrote a very damning criticism of Stenhmamer’s Tirfing, which effectively ended any possibility that it could become a repertory item.

Ironically Peterson-Berger’s opera (only extracts are available) doesn’t have anything like the impact of Stenhammer’s work. There was some attractive music here but it did seem very varied in style and I didn’t really detect the voice of a composers who had a clear personality. Some of the music seemed progressive but in other places it seemed almost naive. There were some Wagnerian influences but surprisingly to me I was quite often reminded of early 20th century English music - Delius and Vaughan Williams - though obviously this was not direct influence but perhaps evidence of common roots in the mid 19th century.

Stenhammar: Tirfing

Opera 98

Stenhammar: Tirfing

Soloists

Malmö opera chorus and orchestra

Arnold Östman

In last year’s project I listened to a short selection of Stenhammar’s songs. I enjoyed those a lot and have gradually started to explore some of his other music, starting with the string quartets. This was my first experience of him as an opera composer: I thought that it was a really good piece. The predominant influence is undoubtedly Wagner, which is perhaps to be expected as the opera is based on Norse mythology but there were also elements of late 19th century French opera. But it has a stylistic coherence which I found compelling. The start, with a solo cor anglais, is highly distinctive and the final scene has a power and impact which really stuck home. This is music of the highest quality.

There is a link to the previous opera in this project. The leading role in Hallström’s opera was taken by Fredrika Stenhammar, who was married to Stenhammar’s uncle.

Hallström: Duke Magnus and the Mermaid

Opera 97

Hallström: Duke Magnus and the Mermaid

Soloists

Korköpping Symphony Orchestra

Nicklaus Willén

Another composer I knew nothings about. Hallström was born in Stockholm in 1826 and studied law rather than music. But he had a long composing career and this, the first of his four operas, in generally considered to be the first real Swedish opera as opposed to a play with music. 

This is an opera very much in the German Singspiel tradition and the influence of Weber and his school is very clear , though there are some moments which seem to come from opéra comique. I found the first act enjoyable enough without being particularly memorable but the second and third acts (the latter quite short) had more to offer. There was a lightness of touch about these two acts and some attractive folk-derived music, which towards the end almost turned the piece into more of a ballad opera.  There was real charm about the best of the music here and it certainly was well worth listening to. I can’t see the opera having much success on the modern stage as it is something of a period piece, but on its own terms it was attractive and I am glad that I heard it.

Pacius: The hunt of King Charles

Opera no 96

Pacius: The hunt of King Charles

Soloists

Pori sinfonietta and opera chorus

Sri Rasilanien

Before I started this project I knew nothing of this composer.  He was born in Finland in 1809, coincidentally the year in which it ceased to be under Swedish control and became an autonomous part of Russia. Pacius was actually born in German but moved to Stockholm in his teens and then to Helsinki where he became an important figure in the development of Finnish music - indeed this opera is generally regarded as the true Finnish opera. 

Pacius was obviously well acquainted with early romantic opera. The predominant influence here is Weber and the composers who followed in his wake, such as Marschner and Lortzing. But there are also some elements, particularly in the bigger ensembles, which suggest that he was also familiar with French opera. Until the third act I didn’t detected anything particularly Finnish about the work - but at the beginning of that act there are some quite extensive dance scenes with chorus which do seem deliberately folk-like in style and are obviously there to give some local colour. Whether that colour is actually Finnish is not something I can comment on - it does seem rather general purpose ‘ethnic’ music of the type which you find in a lot of operas of this period.

I thoroughly enjoyed the work - Pacius has a good sense of dramatic pacing and a melodic gift. It is not the greatest opera in the world but it is by no means second rate either. The more that I get into this project them more I realise that the difference between an opera being in the repertoire and it being totally forgotten can be wafer thin. I suspect that there are hundreds of operas out there which given a good performance and a sympathetic staging would stand up very well.

Berwald: Estrella di Soria

Opera no 95

Berwald: Estrella di Soria

Soloists

I first encountered Berwald on a youth orchestra course when we played his Tragic overture, which is in fact the overture to this opera. I got to know his symphonies - I conducted the Sinfonie Singuliere - and, more relevant for this project, I took part in the British premiere of his opera The Queen of Golconda with the Nottingham University Opera Group.

I like the quirkiness of Berwald’s music. A lot of it is quite straightforward harmonically but he tends to lure you into a false sense of security and then move in a chromatic direction that you were not expecting. It is difficult to place his music in the mainstream tradition - sometimes I am reminded of Berlioz and elsewhere of Mendelssohn, but Berwald has a sound and style all of his own. He has some distinctive fingerprints - little three note rising phrases in the woodwind and a fondness for the interval of a fourth.

Only extracts of the opera are available but there is a good hour of music here. Highlights include a big aria for the soprano (using material familiar from the overture) some lively choruses and some very attractive lighter moments where lyrical music is juxtaposed with rapid patter.  I’d like to hear the whole opera someday though I doubt that it is high on the list of any record company’s repertoire list.