Weinberger: Švanda the Bagpiper

opera no 182

Weinberger: Švanda the Bagpiper

Soloists

Wexford Festival Opera

Julian Reynolds

Schoeck: Penthesilea

 Opera 155

Schoeck: Penthelisea

Soloists

Stuttgard States Orchestra

Ferdinand Leitner

This was a huge surprise. I don’t think that I had heard any of Schoeck’s music but I was aware that he was a a prolific songwriter in a late romantic idiom. So I was expecting something along the lines of a milder Richard Strauss. So it was a shock to hear a very violent percussive opening with as much speaking as singing. The orchestra includes 2 pianos and 8 clarinets and a big percussion section but only 4 violins. I couldn’t find a score or even a translation of the libretto so I can’t say that I really knew what was happening but it was a compelling experience which held my attention throughout the single 70 minute act.  

This was a live recording from a performance in 1957 and although the sound was rather constricted it gave a good impression of the piece. I can imagine that in a live performance the effects could be quite overwhelming. Schoeck was of course Swiss but he was closely associated with German culture and like others in the part of the project had an ambivalent relationship with the Nazi authorities. 

Next year’s project will concentrate on the song repertoire - I am sure that Schoeck will feature in that.

Ibert: Angelique

 Opera no 145

Ibert: Angelique

Soloists

Teatro Massimo de Palermo

Yoram David

This was thee briefest opera so far in this project. The whole thing lasts about 40 mins but a significant part of that time - perhaps a third - was spoken dialogue, so there was certainly less than 30 mins music., I found it entertaining in a diverting sort of way. This is very much in a 1920s Stravinsky manner with touches of les Six and perhaps the merest hint of Ravel. The harmony is very much of the french ‘wrong note’ style and the rhythms are full of syncopations influenced by Latin American folk music and perhaps early jazz.  Nothing lasts long enough to become routine and the whole thing is quite infectious. It is very much a jeux d’esprit and is a product of its time. I don’t know how well it would go down in a modern revival - it might be possible to do it in a double or triple bill with some Poulenc or Milhaud.