Janacek's Operas: where to start
Sander Verheule
I guess I have heard most of Janacek's chamber and orchestral music,
but the only opera I know is Osud (Mackerras/Chandos; Opera in
English, a fine performance, although I'd rather hear the original
language). I've searched the Gramofile-site on other Janacek operas,
and all I get is:
"Yet while one cannot possibly recommend this set in preference to
Mackerras's..."
"....but it is again to Mackerras that one must turn for the finest of
them all..."
"I have no doubt that Mackerras is preferable..."
"This is not the fault of Sir Charles, who conducts a performance no
less impassioned and lucid than before, ....."
Does Mackerras really own this repertoire, or is this just another
case of Gramophone's nationalistic attitude? Specifically, I'm looking
for advice on the following:
Jenufa
Kat'a Kabanova
Mr. Broucek
Best Regards,
Sander Verheule.
David Wake
> Does Mackerras really own this repertoire, or is this just another
> case of Gramophone's nationalistic attitude?
>
born in the USA of Australian parents.
David
Marc Perman
"Sander Verheule" <sver...@iupui.edu> wrote in message
news:3b0072b5...@news.iupui.edu...
This isn't at all my area of expertise, but I am deeply impressed
by the Supraphon Jenufa, with Benackova and conducted by Jilek.
Marc Perman
chris walley
century operas (which may not be saying much) ; life-affirming and very
moving. A Desert Island disc.
I'm no authority but Mackerras not only knows Janacek back to front (a fact
recognised by the Czechs) he was also responsible 30 years ago for making
Janacek's works widely known in the West. Mackerras in Janacek is one of the
few safe bets in music.
Chris
"Sander Verheule" <sver...@iupui.edu> wrote in message
news:3b0072b5...@news.iupui.edu...
>
Terry Simmons
sver...@iupui.edu wrote on 15/5/01 10:57 AM:
In this case, Gramophone can't correctly be accused of nationalism --
Mackerras is Australian.
In my opinon the two operas you have listed 1 and 2 above are the best place
to start.
--
Cheers
Terry
A. Brain
Handel--that DGG recording of Israel in Egypt. And the Pye recording of the
Fireworks music. Then I picked up his "pioneering" Messiah. I can still
recall hearing it as recorded from LP to cassette and played on a long trip
in my 1972 Ford, then later on a trip to Europe as I drove from Vienna to
Budapest in 1984, arriving Easter Sunday and startled to find out that the
police required my passport overnight. Something of a Reagan supporter at
the time, I was outraged at that--until a few days later, when the same
thing happened in Italy.
I still have that tape around here somewhere.
Unlike some others--not necessarily musicians-- who claim the title,
Mackerras is a "moderate". He takes the best features of HIP performances
and avoids the extremes. He uses some "original" instruments to add
character, occasionally will use a countertenor (as in Messiah and Israel),
but never seems to sacrifice the musical value for some other cause. I
don't think he has ever used a boy soprano, for example. Not that there is
anything wrong with that.
Over the years, I have added more and more of his recordings to my
collection. Schubert's 9th symphony. Lately, the Brahms serenades and
symphonies.
People tend to forget that he is an American by birth. He should have had
one of the big American jobs a long time ago. Who knows? The Handel
revival, as in opera, might have started a lot sooner if he had been
recruited for a major MD post here twenty-five or thirty years ago.
I haven't heard the Beethoven; really like the Brahms so far.
--
A. Brain
Remove "nospam" when replying via email
"chris walley" <chris....@ntlworld.com> wrote in message
news:P35M6.12120$tU6.1...@news2-win.server.ntlworld.com...
Frank Galvin
----------
In article <3b0072b5...@news.iupui.edu>,
sver...@iupui.edu (Sander Verheule) wrote:
> I guess I have heard most of Janacek's chamber and orchestral music,
> but the only opera I know is Osud (Mackerras/Chandos; Opera in
> English, a fine performance, although I'd rather hear the original
> language). [...]
> Specifically, I'm looking for advice on the following:
> Jenufa
> Kat'a Kabanova
> Mr. Broucek
> Best Regards,
> Sander Verheule.
Sander:
What marvellous excursions you are about to take!
Do not, under any circumstances, overlook _The Cunning Little
Vixen_, and in guess-who's version. M's other Janacek will not
disappoint, and the notes (at least for the LPs) are superior.
I have a Supraphon LP of _Osud_ (Jilek conducting), replete with
excellent notes and a Czech-English-German-French libretto.
I think this is still available on CD.
Best,
Frank
David Standifer
> Mackerras is Australian.
Yes, but that doesn't matter if they consider him their own, which they
seem to.
David
David Standifer
> Mackerras is a safe bet in almost anything he does.
Pretty close to it. His Mahler 1 and 5, though seldom mentioned here,
are fully competitive in the digital field IMO.
> I haven't heard the Beethoven; really like the Brahms so far.
As it happens, I just got another volume of his Beethoven (for $5.50
from cybermusicsurplus.com incidentally) - the 5/7, a fantastic disc.
David
Kalman Rubinson
<agentor...@yahoo.com> wrote:
>A. Brain wrote:
>
>> Mackerras is a safe bet in almost anything he does.
>
>Pretty close to it. His Mahler 1 and 5, though seldom mentioned here,
>are fully competitive in the digital field IMO.
Yes and a very strong digital Sibelius 2.
Kal
David Ashbridge
that is not to say there are some other excellent Janacek conductors.
Mackerras though is one of the few who can really claim to know the
entire output with authority, most particularly in the operas.
Simon Roberts
"A. Brain" <abr...@nospam.att.net> wrote in message
news:959M6.159$503.2...@nnrp3.sbc.net...
> I haven't heard the Beethoven; really like the Brahms so far.
His Beethoven is generally first rate of its type (lean, fast,
direct, unfussy etc.); for someone interested in such a set his
would be my first choice (no period instruments at all in that
set, I think). His Fidelio is even better (the period brass
help) and would warrant a very strong recommendation if the
singing were better (it's not bad but...). The only
disappointing Beethoven I've heard from him is the Missa
Solemnis, where the recording's more to blame than he is, and
that odd edition of Beethoven cto 4, where all concerned seem
uninvolved despite the novelty of it all.
Simon
Phil Badger
Verheule) wrote:
<Snip>
>Specifically, I'm looking for advice on the following:
>Jenufa
Mackerras/VPO w/ Söderström.
>Kat'a Kabanova
Mackerras/Czech Phil. w/ Benackova.
>Mr. Broucek
Jilek/Czech Phil w/ Pribyl. AFAIK, Mackerras has never recorded
Broucek.
--
Phil Badger
phil_...@yahoo.com
Matthew Silverstein
> police required my passport overnight. Something of a Reagan supporter at
> the time, I was outraged at that--until a few days later, when the same
> thing happened in Italy.
*You* were a Reagan supporter?
Matty
Alain Dagher
Matthew Silverstein wrote:
Povera Italia! (recent elections)
Alain
Buster Brown
>sver...@iupui.edu (Sander Verheule) schreef
> op Tue, 15 May 2001 00:57:08 GMT:
>
>> Does Mackerras really own this repertoire, or is this just another
>> case of Gramophone's nationalistic attitude?
>
>an honorary Brit.
>
>For non-Mackerras Janácek-operas I know and can recommend:
>
>Osud, Jilék (Supraphon, 1 disc)
>The cunning little vixen, Neumann (Supraphon)
>The excursions of Mr. Broucek..., Jílek (Supraphon).
>
>There are more non-Mackerras releases.
Supraphon generally has terrific recording quality/engineering.
The Supraphon Kat'a Kabanova, conducted by Mackerras, is excellent.
Chuck
Matthew B. Tepper
wrote in <9ds9m6$gja$1...@news.ox.ac.uk>:
*I* used to work for a guy who sent out massive e-mail and Usenet spams.
Matthew B. Tepper
<3B01ABE3...@bic.mni.mcgill.ca>:
The only bright spot is that Berlusconi's coalition is still at the mercy
of the same guy who brought it down before.
MarkZ1000
>
>Kal
>
I find his Sibelius 2 very good indeed. The sound may not be a perfect 10,
but it does come close!
Mark Zimmerman * Chicago
To reply remove "nospam"
Kalman Rubinson
wrote:
>>Yes and a very strong digital Sibelius 2.
>>
>>Kal
>>
>
> I find his Sibelius 2 very good indeed. The sound may not be a perfect 10,
>but it does come close!
I especially like the tympani at the end.
Kal
George Murnu
Mackerras never recorded Broucek, although in a recent Grammophone
article he says he would love to but he doesn't find the money...
And yes, his recordings are the best place to start.
Regards,
George
Frank Galvin
----------
In article <2mr3gtoh597gbc8o6...@4ax.com>, Kalman
Rubinson <k...@nyu.edu> wrote:
> On 16 May 2001 02:43:05 GMT, mark...@aol.comnospam (MarkZ1000)
> wrote:
[about Mackerras]:
>> I find his Sibelius 2 very good indeed. The sound may not be a
>> perfect 10, but it does come close!
> I especially like the tympani at the end.
>
> Kal
...and from far and near - the Pye/Vanguard Janacek _Sinfonietta_
and opera preludes (1970s ?) & Telarc's _The Mikado_, fizz city
and shorn of that overture...
Frank
P.S. [to Kal] Don't play those timp passages too loud, now, you
could.......
David R L Porter
from "chris walley" <chris....@ntlworld.com> contains these words:
> I'm no authority but Mackerras not only knows Janacek back to front (a fact
> recognised by the Czechs) he was also responsible 30 years ago for making
> Janacek's works widely known in the West. Mackerras in Janacek is one of the
> few safe bets in music.
Thirty years ago many of us in the UK were getting to know Janacek
from LP Supraphon sets, which were widely available (though I
remember importing Jenufa for some reason and getting a copy that
sounded like it had been cleaned with emery paper).
Highlights of my Supraphon experiences were Broucek and The House of the Dead,
in idiomatic and passionate performances -- and the String Quartets,
a glimpse into a whole other world of music.
I don't know why Supraphon was so available in the UK, but the early
Penguin Stereo Record Guides show a catalogue that has been much
depleted in CD.
I enjoy Mackerras too, of course.
--
Best wishes,
Matthew Silverstein
> *I* used to work for a guy who sent out massive e-mail and Usenet spams.
<faint>
Matty
johan nota
Sander Verheule heeft geschreven in bericht
<3b0072b5...@news.iupui.edu>...
And now you know what to buy, take a look at
http://www.musicabona.com/cdshop1/janacek
Johan Nota
Matthew B. Tepper
in <9dug5t$of9$1...@news.ox.ac.uk>:
It's called "An origin story." That guy was a monster, a thoroughly toxic
personality, somebody who treated people like excrement, and (I have reason
to suspect) was particularly not fond of our people. This may explain the
utter glee with which I stomp out spammers who encroach upon this ng.
Sander Verheule
didn't remember their prices were that competitive (with standard free
shipping!).
On Wed, 16 May 2001 21:38:17 +0200, "johan nota" <jn...@asz-home.nl>
wrote:
Sander Verheule
his much-praised 2nd recording of the Glagolitic Mass (at least not as
much as the Ancerl version I bought later). Maybe that was caused more
by the soloists on that particular recording than by his conducting.
Sander Verheule
Supraphon site or anywhere else.
Has anyone been able to compare the two Cunning Little Vixens on
Supraphon, Vaclav Neumann and Bohumil Gregor?
Jan Depondt
"MarkZ1000" <mark...@aol.comnospam> wrote in message
news:20010515224305...@ng-mn1.aol.com...
> >Yes and a very strong digital Sibelius 2.
> >
> >Kal
> >
>
> I find his Sibelius 2 very good indeed. The sound may not be a
perfect 10,
> but it does come close!
There are two recordings of Sibelius 2 by Mackerras (with LSO and with RPO).
I suppose you refer to the LSO recording. If someone knows both recordings,
which one of these is to be preferred?
--
Jan Depondt
Jon Bell
Sander Verheule <sver...@iupui.edu> wrote:
>Which label is Mackerras' Cunning Little Vixen on? I can't find on the
>Supraphon site or anywhere else.
It was released on London in the U.S. and on Decca elsewhere. It might
now be listed under Decca in the U.S. also. I don't know if it's still in
print, though.
There's also a fine DVD video of a Mackerras-conducted performance of
"Vixen," released by Image Entertainmant.
--
Jon Bell <jtb...@presby.edu> Presbyterian College
Dept. of Physics and Computer Science Clinton, South Carolina USA
Phil Badger
Verheule) wrote:
>Which label is Mackerras' Cunning Little Vixen on? I can't find on the
>Supraphon site or anywhere else.
Decca/London. Catalog # is 417 129-2.
>Has anyone been able to compare the two Cunning Little Vixens on
>Supraphon, Vaclav Neumann and Bohumil Gregor?
I've heard Gregor's recording, which is notable for some terrific
singing (especially Helena Tattermuschova as the vixen). I plan to
buy it in the near future.
--
Phil Badger
phil_...@yahoo.com
Phil Badger
>Sander Verheule <sver...@iupui.edu> wrote:
>>Which label is Mackerras' Cunning Little Vixen on? I can't find on the
>>Supraphon site or anywhere else.
>It was released on London in the U.S. and on Decca elsewhere. It might
>now be listed under Decca in the U.S. also. I don't know if it's still in
>print, though.
It showed up in the Virgin Megastore (San Francisco) recently with a
big import sticker on the front, so I suspect it is still in print,
just not being distributed in the U.S. anymore. The same goes for
Mackerras' excellent Jenufa, also on Decca/London.
A quick check of amazon.co.uk reveals that both are still available
for order from the U.K.
--
Phil Badger
phil_...@yahoo.com
Rodger Whitlock
<fga...@mediaone.net> wrote:
> ...and from far and near - the Pye/Vanguard Janacek _Sinfonietta_
> and opera preludes (1970s ?)
Early or mid sixties; released on Vanguard LP in the US and
available in the EMI Phoenixa CD line about ten years ago -- for
three or four seconds. Worth looking for.
The sound is on the "gritty" side, but the performance of the
Sinfonietta, to echo one critic, is "red in fang and claw."
This is the recording that initiated a life-long love of Janacek,
just as the Woldike recording of The Creation started my interest
in Haydn.
Of interest: both of these were on Vanguard in the US where I
learned to love them. Quite the label!
--
Rodger Whitlock
Victoria, British Columbia, Canada
MarkZ1000
>I suppose you refer to the LSO recording.
Right, definitely the LSO on MCA.
Kalman Rubinson
wrote:
>>There are two recordings of Sibelius 2 by Mackerras (with LSO and with RPO).
>>I suppose you refer to the LSO recording.
>
>Right, definitely the LSO on MCA.
Right, That's the one I was referring to.
Kal
dank...@yahoo.com
>
>I'm no authority but Mackerras not only knows Janacek back to
>front (a fact recognised by the Czechs) he was also responsible
>30 years ago for making Janacek's works widely known in the West.
>
>Chris
>
M. knows Czech music back to front because he studied conducting
with Vaclav Talich in Prague.
dk
A. Brain
Handel's Saul, and just picked up some more Czech "hits" at
Berkshire--Janacek, Suk, and Martinu.
--
A. Brain
Remove "nospam" when replying via email
"David Standifer" <agentor...@yahoo.com> wrote in message
news:3B013493...@yahoo.com...
> A. Brain wrote:
>
> > Mackerras is a safe bet in almost anything he does.
>
> Pretty close to it. His Mahler 1 and 5, though seldom mentioned here,
> are fully competitive in the digital field IMO.
>
> > I haven't heard the Beethoven; really like the Brahms so far.
>
> As it happens, I just got another volume of his Beethoven (for $5.50
> from cybermusicsurplus.com incidentally) - the 5/7, a fantastic disc.
>
> David
>
>
Raymond Hall
news:3b02dcf3....@news.iupui.edu...
> I was a bit skeptical about Mackerras, because I didn't really like
> his much-praised 2nd recording of the Glagolitic Mass (at least not as
> much as the Ancerl version I bought later). Maybe that was caused more
> by the soloists on that particular recording than by his conducting.
If Mackerras's Janacek Operas are of the same standard as his Sinfonietta
and Taras Bulba on a Decca I culled last year, I think I'll stick with the
Czechs and the older Supraphons (despite lower quality sound) for any
Janacek. Mackerras doesn't have a clue with the Sinfonietta. All one has to
do, is put his version alongside the Ancerl and do a comparison. And if
anyone, nay, any creature, tells me they don't prefer Ancerl by a huge
country mile, then I'll eat my hat. No real need to say any more. The
difference between chalk and cheese.
Regards,
# Classical Music WebSite Links :
http://www.users.bigpond.com/hallraylily/tassiedevil2.htm
# Main Page, To Conductors, Jazz Songstresses :
http://www.users.bigpond.com/hallraylily/index.html
# Ormandy page and New Furtwängler link
Ray, Sydney
David Ashbridge
either compered to his earlier one on Supraphon. Ok it has a few more
bars but overall it is only good whilst the earlier version grabs your
attention throughout. At least the Kodaly filler makes the 2nd disc
worth it. That aside don't worry about Mackerrass in Janacek.
Bob Reith
Supraphon seems to get all the accents right, although the tempi race briefly
in a couple or two sections. A well-done recording IMO.
He did study under Talich. As an aside, he's the only non-Czech conductor to
speak to the Czech Phil players "in Czech." In itself, that doesn't make him a
good conductor of Czech music, but I, at least, find it interesting.
>No real need to say any more. The
>difference between chalk and cheese.
Ray, that's gotta be one of the funniest lines I've heard recently.
Bob
HenryFogel
>I guess I have heard most of Janacek's chamber and orchestral music,
>but the only opera I know is Osud (Mackerras/Chandos; Opera in
>English, a fine performance, although I'd rather hear the original
>language). I've searched the Gramofile-site on other Janacek operas,
>and all I get is:
>
>"Yet while one cannot possibly recommend this set in preference to
>Mackerras's..."
>"....but it is again to Mackerras that one must turn for the finest of
>them all..."
>"I have no doubt that Mackerras is preferable..."
>"This is not the fault of Sir Charles, who conducts a performance no
>less impassioned and lucid than before, ....."
>
>Does Mackerras really own this repertoire, or is this just another
>case of Gramophone's nationalistic attitude? Specifically, I'm looking
>for advice on the following:
>
>Jenufa
>Kat'a Kabanova
>Mr. Broucek
>
>
>
>Best Regards,
>
>Sander Verheule.
I don't believe that Mackerras necessarily "owns" this repertoire -- and in
fact a number of other conductors, particularly some of the Czechs, seem to me
to conduct it with crisper rhythms and more bite. Nonetheless, Mackerras is
certainly more than adequate, and has the advantage of working with generally
better international casts, top-flight orchestras, and better recorded sound.
I think that Mackerras' performance can be a great place to start for Janacek's
operas because they are good performances througout. After one gets to know
the operas one might wish to explore alternative readings.
Henry Fogel
Frank Galvin
In article <3b03149f....@news.newsguy.com>,
toto...@mail.pacificcoast.net (Rodger Whitlock) wrote:
> On Wed, 16 May 2001 12:51:30 GMT, "Frank Galvin"
> <fga...@mediaone.net> wrote:
>
>> ...and from far and near - the Pye/Vanguard Janacek _Sinfonietta_
>> and opera preludes (1970s ?)
[and Rodger Whitlock replied]:
> Early or mid sixties; released on Vanguard LP in the US and
> available in the EMI Phoenixa CD line about ten years ago -- for
> three or four seconds. Worth looking for.
Yup, I snagged.the CD just before that fourth second, and indeed
it is as you describe [in echo] below. It was among my first J.
experiences in its Vanguard LP incarnation. The Kubelik
Glagolitic Mass had burst upon me around that time and these
changed my listening life in so many ways, wonderful and
impossible to relate.
> The sound is on the "gritty" side, but the performance of the
> Sinfonietta, to echo one critic, is "red in fang and claw."
Haven't heard the later one, but in no way can it be like the
'Pro Arte' performance. Sounds like M. dragged some of those
musicians over from his _Water Music_ sessions and said, "Here,
let's have a go at this one!" All hell breaks loose.
> This is the recording that initiated a life-long love of Janacek,
> just as the Woldike recording of The Creation started my interest
> in Haydn.
Now available in the good ol' U.S.of A in a 20-bit AAD, and guess
who snagged that one. [This was, I think, originally in their
Bach Guild series.]
> Of interest: both of these were on Vanguard in the US where I
> learned to love them. Quite the label!
And, they have quite a catalog. Try
http://www.vanguardrecords.com/
All their CDs come with inserts where you can request a favorite
for consideration [for transferring to CD]. I asked for
Bach/Walton _The Wise Virgins_ and Scarlatti/Thommasini _The Good
Humoured Ladies_, VSOO, Litschauer.
Thanks [for the memories]....
Raymond Hall
news:20010517073630...@ng-cj1.aol.com...
> Can't speak to the Janacek Sinfonietta, but his Smetana Ma Vlast with CPO
on
> Supraphon seems to get all the accents right, although the tempi race
briefly
> in a couple or two sections. A well-done recording IMO.
>
> He did study under Talich. As an aside, he's the only non-Czech conductor
to
> speak to the Czech Phil players "in Czech." In itself, that doesn't make
him a
> good conductor of Czech music, but I, at least, find it interesting.
I realise I am basing my judgemental experience on the few Janacek operas I
had on LP from various Czech artists on Supraphon, and specifically The
Cunning Little Vixen and Jenufa, in addition to the Glagolitic Mass, and the
usual warhorses, the Sinfonietta and Taras Bulba. Plus the two string
quartets by the Smetana Quartet.
There seems much praise for Mackerras's Decca offerings (for the Operas) in
this thread, but I can only add that Ancerl leaves him in the dust as far as
the Sinfonietta and Taras Bulba go, plus I was additionally badly let down
by Mackerras's Walton 1st and 2nd symphonies on EMI, and if you can make
Walton's 1st seem a mite drab, then something is wrong. Maybe I just picked
Mackerras in wrong recordings. Additionally I culled his LvB 9th with the
RLPO, as probably not the reading, but mainly I suspect the work itself, was
the problem for me with that recording. So I have trodden warily wrt Sir
Charles ever since.
I'll give him one more try, and check out (scuse pun) one of his Janacek
operas. Which one do you think represents Mackerras at his best?
David Standifer
> That 2nd version of the Glagolitic Mass doesn't do that much for me
> either compered to his earlier one on Supraphon. Ok it has a few more
> bars but overall it is only good whilst the earlier version grabs your
> attention throughout.
Hmmm. Well, FWIW, I love the restored Mass, Mackerras's conducting of
it, and the singers too (strident but appropriate IMO). But I haven't
heard the earlier Mackerras recording.
David
Jan Depondt
"Eltjo Meijer" <spamv...@deadspam.com> wrote in message
news:qa68gtgdcdhhv63ns...@4ax.com...
> dank...@yahoo.com schreef
> op Thu, 17 May 2001 05:26:20 GMT:
>
> > M. knows Czech music back to front because he studied conducting
> > with Vaclav Talich in Prague.
>
> Czech music. Was he Talich's only student? Did all of Talich's
> students become good conductors of and experts on Czech music?
But probably all of Talich's students who became good conductors became
excellent interpreters of Czech music too. Probably some of the readers here
know other students of Talich who became famous anyway. How is or was their
conducting of Czech music?
--
Jan Depondt
Bob Reith
>operas. Which one do you think represents Mackerras at his best?
>
Hmm. That's why my comments about Mackerras tapdanced around the Janacek
operas and appealed to the Smetana as a representation of how he handles Czech
music. From these parts (NYC area), when he's been in town at the Metropolitan
Opera, (if I recall correctly) operas such as Kat'a Kabanova and The Makropulos
Case have been well-received. The KK is available. Don't know of any
recordings of Makropulos. I've heard that Jenufa and Cunning Little Vixen are
also good. Sorry I can't give you a first hand report, but after you find
something, let me know what you think.
Bob
David Standifer
> henry...@aol.com (HenryFogel) schreef
> op 17 May 2001 11:57:50 GMT:
>
>
>> (...) Nonetheless, Mackerras is
>> certainly more than adequate, and has the advantage of working with generally
>> better international casts, top-flight orchestras, and better recorded sound.
>
>
> Certainly, but there can be a problem: many international stars have
> no command of the Czech language (the same applies to reviewers). To a
> Czech the effects of this can be quite disturbing, as was pointed out
> in a thread about (Mackerras' recording of) Dvorák's Rusalka by a
> native speaker in the opera newsgroup: "...Most irritating to me are
> accents (on sylables in the word) that are very often (always)
> misplaced, singers are not aware what the word they sing means, so
> they often emphasize the wrong word in a sentence which sounds very
> odd if you understand the language...". I don't know if and to what
> extent this applies to his Janacek recordings, the few opera's I had a
> look at appear to have a mainly Czech cast.
Have you heard any Mackerras Janacek opera recordings? You speak as
though you haven't - yet all your posts on this thread question his
credentials. Thank you for your alternate recommendations, but must you
discredit what you haven't heard?
The above review raises a cast issue, not a conducting issue. Avoid his
recordings with non-Czech casts if that's your concern.
David
Frank Galvin
----------
In article <fii8gtgn7d6calf60...@4ax.com>, Eltjo
Meijer <spamv...@deadspam.com> wrote:
> henry...@aol.com (HenryFogel) schreef
> op 17 May 2001 11:57:50 GMT:
>
>> (...) Nonetheless, Mackerras is
>> certainly more than adequate, and has the advantage of working with
>> generally
>> better international casts, top-flight orchestras, and better recorded
>> sound.
>
> Certainly, but there can be a problem: many international stars have
> no command of the Czech language (the same applies to reviewers). To a
> Czech the effects of this can be quite disturbing, as was pointed out
> in a thread about (Mackerras' recording of) Dvorák's Rusalka by a
> native speaker in the opera newsgroup: "...Most irritating to me are
> accents (on sylables in the word) that are very often (always)
> misplaced, singers are not aware what the word they sing means, so
> they often emphasize the wrong word in a sentence which sounds very
> odd if you understand the language...". I don't know if and to what
> extent this applies to his Janacek recordings, the few opera's I had a
> look at appear to have a mainly Czech cast.
>
> Eltjo Meijer
Interesting, even if you haven't heard the _Rusalka_. Could the
problem [for want of a better word] be stated this way in regard
to the Bartók string quartets - that the Végh recordings are to
the Chalabala [say] as the Julliards are to the Mackerras?
Best,
Frank
P.S. My favorite M. Janacek opera? _The Cunning Little Vixen_.,
and you could remove the 'M.'!
Rodger Whitlock
<fga...@mediaone.net> wrote, re the orchestra with which Charles
Mackerras first recorded the Janacek sinfonietta:
> 'Pro Arte'
Actually, you don't need quotes there. Somewhere I've read that
the Pro Arte was a real orchestra with a real concert schedule,
unlike, say, the Columbia Symphony Orchestra or the National
Philharmonic. Not a full-time institutional orchestra, but
definitely something you could go to concerts by.
jason and jill
Janacek operas is that involvement with them is a bit more deep than
normal. Janacek's operas, and Janacek in general, where pretty much
unknown outside of Czechloslovakia when Mackerras heard his teacher,
Talich, conduct Kata Kabanova. Mackerras brought scores back to UK, and
interested the folks at Sadler's Wells in Kata, and after that Sadler's
Wells went on to present most of the other Janacek operas. Interest in
Janacek's operas spread from there to the rest of Europse. So while it
might be a stretch to say that Mackerras singlehandedly was responsible
for the current popularity of Janacek's operas it would nonetheless be
less of an exaggeration than crediting Bernstein with Mahler's popularity.
In addition, when Mackerras's recordings came out that had the benefit of
more than better sound compared to previous recordings. Previously,
conductors had altered Janacek's orchestration to make it more lush and
less spikey. In addition, the published scores were filled with errors.
So Mackerras's recordings were the first to use newly edited, critical
editions of the scores.
Of course, since then there have been new recordings by Czechs using the
critical editions, but they have come out only recently. H/e, you can't
entirely escape Mackerras even with another conductor's recordings--the
guy that edited most of the critical edition scores was none other than
Mackerras! ;)
Jason
Sander Verheule
on supraphon:
Kata Kabanova - Mackerras
Jenufa - Jilek
Cunning Little Vixen - Neumann
Mr. Broucek - Jilek
...and something else to get to $100 so I get the 10% off.
Frank Galvin
----------
In article <3b0af45e...@news.iupui.edu>,
sver...@iupui.edu (Sander Verheule) wrote:
Sander:
Pavel Haas: String Quartets [complete]. Don't hesitate...
Best listening,
Frank
Alan Cooper
> Thanks to all who responded. I think I'll order from MusicaBona, all
> on supraphon:
>
> Kata Kabanova - Mackerras
> Jenufa - Jilek
> Cunning Little Vixen - Neumann
> Mr. Broucek - Jilek
You might want to consider "From the House of the Dead," certainly Janacek's
greatest opera. The composer himself referred to it as "perhaps my greatest
work." The experiments in the earlier operas are brought to fruition in
this one. Mackerras's brilliant recording on Decca cleansed the score of
its misguided "completion" by Janacek's students, and reveals the stunning
originality of the composer's conception.
AC
Frank Galvin
----------
In article <9egq5a$45n$1...@slb3.atl.mindspring.net>, "Alan Cooper"
<amco...@ix.netcom.com> wrote:
> "Sander Verheule" <sver...@iupui.edu> wrote in message
> news:3b0af45e...@news.iupui.edu...
>> Thanks to all who responded. I think I'll order from MusicaBona, all
>> on supraphon:
>>
>> Kata Kabanova - Mackerras
>> Jenufa - Jilek
>> Cunning Little Vixen - Neumann
>> Mr. Broucek - Jilek
>
> You might want to consider "From the House of the Dead," certainly
> Janacek's greatest opera.
> The composer himself referred to it as "perhaps my greatest work."[...]
>
> AC
It is a marvellous work, but given the source not at all
surprising, hm?...
Frank
Nicolas Hodges
>sver...@iupui.edu (Sander Verheule) schreef
> op Tue, 15 May 2001 00:57:08 GMT:
>
>> Does Mackerras really own this repertoire, or is this just another
>> case of Gramophone's nationalistic attitude?
>
>an honorary Brit.
He can only have become a Sir if he actually was a Brit at the time and
so he must have taken British nationality. Unless I'm very much
mistaken.
--
Nic
Matthew B. Tepper
news:8X5QA8ET...@nicolashodges.demon.co.uk:
Are not Australians allowed to take titles from the Queen? For that
matter, what about Canadians?
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
My personal home page -- http://home.earthlink.net/~oy/index.html
My main music page --- http://home.earthlink.net/~oy/berlioz.html
To write to me, do for my address what Androcles did for the lion
Top 3 worst UK exports: Mad-cow; Foot-and-mouth; Charlotte Church
Christopher Webber
>He can only have become a Sir if he actually was a Brit at the time and
>so he must have taken British nationality. Unless I'm very much
>mistaken.
As an Australian (British Commonwealth member) he doesn't need to do
that to call himself "Sir" formally. I believe only Americans and
suchlike who are given honorary knighthoods by Britain are unable to
claim usage of the title.
___________________________
Christopher Webber, Blackheath, London, UK.
http://www.nashwan.demon.co.uk/zarzuela.htm
"ZARZUELA!"
Nicolas Hodges
>Nicolas Hodges <n...@nicolashodges.demon.co.uk> writes:
>>He can only have become a Sir if he actually was a Brit at the time and
>>so he must have taken British nationality. Unless I'm very much
>>mistaken.
>
>As an Australian (British Commonwealth member) he doesn't need to do
>that to call himself "Sir" formally. I believe only Americans and
>suchlike who are given honorary knighthoods by Britain are unable to
>claim usage of the title.
I was labouring under the illusion (created by someone in this thread)
that he was US born. So I was indeed very much mistaken...
--
Nic
Simon Roberts
: Christopher Webber <zarz...@nashwan.demon.co.uk> writes
He was born in the USA but left for Australia with his parents when very
young (he has a slight Australian accent). I haven't a clue what his
nationality is at present.
Simon
Raymond Hall
news:9fjg5t$5us$1...@netnews.upenn.edu...
Alan Charles Mackerras was born on 11/17/1925 in Schenectady (New York) of
Australian parents (I believe), and moved back to Australia whilst very
young.
Regards,
# RMCR WebSite Links :
http://www.users.bigpond.com/hallraylily/tassiedevil2.htm
# Main Page : http://www.users.bigpond.com/hallraylily/index.html
Ray, Sydney
Matthew B. Tepper
> I was labouring under the illusion (created by someone in this thread)
> that he was US born. So I was indeed very much mistaken...
He is every bit as American as Herbert Blomstedt.
David Ashbridge
Commonwealth. It can also be awarded as to a foriegn national who has
made an outstanding contribution to something or other. The best known
in this respect is Sir Georg Solti who was Hungarian by birth.
Raymond Hall
news:3B1E174A...@brunel.ac.uk...
> No. The Knighthood gong can be awarded to anyone who is a member of The
> Commonwealth. It can also be awarded as to a foriegn national who has
> made an outstanding contribution to something or other. The best known
> in this respect is Sir Georg Solti who was Hungarian by birth.
Even better known is Sir André Previn, who was born in Berlin.
Although, as I recall, Sir Georg Solti did marry an English TV presenter,
and whether he eventually became a naturalised Brit, I'm not too sure. But I
have a feeling he did.
Regards,
# RMCR WebSite Links :
http://www.users.bigpond.com/hallraylily/tassiedevil2.htm
# Main Page : http://www.users.bigpond.com/hallraylily/index.html
Ray, Sydney
Rodger Whitlock
Tepper) wrote:
> Are not Australians allowed to take titles from the Queen? For that
> matter, what about Canadians?
In Canada, only with permission from the government. They refused
to allow some newspaper magnate to receive a knighthood or
something of that sort, and the hissy fit the man pulled was
something to behold.
Matthew B. Tepper
news:uKpT6.46122$hV3....@newsfeeds.bigpond.com:
> Even better known is Sir André Previn, who was born in Berlin. Although,
> as I recall, Sir Georg Solti did marry an English TV presenter, and
> whether he eventually became a naturalised Brit, I'm not too sure. But I
> have a feeling he did.
He certainly did so, and the details are given in his autobiography (which
has different titles in the UK and the US).