Schumann: Genoveva

Opera no 62

Schumann: Genoveva

Soloists

Chamber orchestra of Europe

Nicholas Harnoncourt

Schumann is one of the composers I turn to a lot - his song cycles have been a central part of my musical experience since my student days. Yet rather to my surprise I have never heard Genoveva, his only opera, before. 

It was well worth the wait. There was some superb music here. Much of it was unmistakably Schumann, but there were some elements which reminded me of Mendelssohn, a few moments of Marschner-like gothic excitement and more than a hint of middle period Wagner. The opera is largely through-composed with a fairly fluid structure without obvious distinction between aria and recitative. The musical langue is sophisticated with some really piquant chromatic harmony that is so characteristic of Schumann’s musical language.

So why it this such a rarity? I think that it is partly because this style of opera got superseded by Wagner, but also because in many ways it has the feel of an oratorio or other concert work rather than a work for the stage. Schumann gives himself the luxury of long postludes to arias and highly developed choral writing - things which sound wonderful but probably feel overlong on the stage. Ultimately I missed the spell of the greasepaint which you get in some of the other works in the selection of German operas I have been listening for this blog - even though in purely musical terms they are not on the save level of invention as Schumann’s work. The comparison between what works on the stage and purely musical values is a fascinating one.

Ricci: Crispino e la Comare

Opera  no 26

Ricci: Crispino e la Comare

Soloists

Orchestra Internazionale d’Italia

Jader Bignamini

This is a rare example of an opera by two composers. The Ricci brothers both had independent careers as opera composers but came together to write some works jointly.

I was aware of this opera but I had never heard it before. It is something of a romp. Some of the music is routine but it has charm and some energy - though it rarely pales in comparison to the Rossini in the previous entry in this project) and it was well worth listening to. There are some extended ensembles including a trio for the male characters which is highly amusing. I remember talking to the great Bonaventura Bottone (who sang with the Nottingham Opéra Group) about this trio. Early in his career he took part in a performance of the opera at the Wexford festival. In rehearsal they found this trio very long and rather dull and wanted to make cuts, but in fact on stage it turned out to be the hit of evening!

Apparently Luigi wrote all of the music in 3/4 and Federico the music in 2/4! I suppose that is one way of dividing up the responsibilities. Alas the brothers fell out badly and Luigi did not attend the premier! It will be interesting to listen to some of the opera which which they wrote as individuals. Some recordings of extracts are available.