Jenufa recordings - recommendations?
wkasimer
for whatever reason.
But after enjoying the Sirius broadcast of Jenufa the other night, I'm
interested in exploring a bit, beginning with that opera. What
recordings do Janacek cognoscenti recommend? In this case,
idiomaticity is more important to me than vocal beauty, although the
latter is certainly preferred. Optional high notes I can live
without :-).
Bill
alanwa...@aol.com
I see scrolling back that SJT had a dig at the old Czech recordings of
this work in the thread Jenufa Recommendations not very long ago.
I cannot do better than commend the thierry response to that but that
performance will not be generally available these days. Nor can I
comment on Sam's post in that thread because I have not heard the
performance although I have no reason to doubt what he says of the
performance.
Janacek is certainly not exclusively Czech these days and neither
should it be because he is, in my opinion, a magnificent international
opera composer whose music I have loved and been playing for over 40
years.
I would not quibble with SJT's recommendation of Sir Charles Mackerras
and his Vienna forces in any way except to observe that it is just one
way of performing Janacek and Jenufa in particular.
There is a quite "raw" side to Janacek's music, both symphonic and
operatic, and this I find slightly missing from Vienna. It is
beautifully played, of that there is no doubt, but a lot of the rough
edges (rough edges which are important in this music) are smoothed
off.
For one thing I suspect, but do not know except for what I can hear,
that the Vienna orchestra is far larger (particularly strings) than
would be encountered in the same work in the CR. A lot of Janacek's
writing for the orchestra is very spare and very exposed, often
pushing instruments to the limits of their tonal range in both
directions. Also many phrases are tied to national speech patterns -
both asked and answered by singer and orchestra and this is a most
important element.
As to "editions" mentioned in the previous thread, I agree with th
that it really does not make much difference unless you are going to
be a purist about it (which I quite understand) but, for example,
Jilek had his "own edition" which altered some of the Kovarovic
edition which SJT objects to. Gregor, who recorded the work for EMI,
also made changes of his own.
At the moment, the "original edition" that Sir Charles performs has
not taken off in the CR.
A good way to go might be to buy the Mackerras recording and, for a
second take, buy the Supraphon recording remastered (the one you want
is SU 38692) and see if you can spot the differences:):)
It is such a wonderful work that I hope you might find that
entertaining.
There is a wonderful Jenufa from Gabriela Benackova and a spectacular
Kolstenicka from Nadezda Kniplova, far more subtle than her
performance for Mr Gregor.
Frantisek Jilek, whose lineage went right back to the composer via
Bretislav Bakala, was personally the finest Janacek interpreter I have
personally encountered (both symphonic and opera) but that is just for
me.
As to other Czech opera I do not know which you know. I assume you
must be pretty familiar with Rusalka and Bartered Bride? In both
cases, the respective composers have more to say.
Also Martinu, unique Czech operas. The 50th anniversary of his death
(2009) will also see most of Martinu's stage works revived and he will
also be the central composer of the 2009 Prague Spring Festival.
As to Jenufa, I think the recordings of Sir Charles and Frantisek
Jilek better demonstrate my point. Both I think you will find very
rewarding but both, I think, different together with their singing
interpreters.
It is what keeps this business alive in 2007!
Kind regards,
Alan M. Watkins
wkasimer
wrote:
(helpful response snipped)
Alan, thanks for the response, and the pointer to Thierry's posting.
I've just returned to RMO after a couple of weeks, so I missed that
the first time around (you're right, BTW, that Thierry's first choice
is hard to find).
Bill
alanwa...@aol.com
I would speak nicely to Thierry about his first choice..........as
long as you aren't going to offer it for sale somewhere:):)
Not that it matters in the Czech stuff as no one was on royalties
anyway.
Kind regards,
FlatFeesRUs
La Donna Mobile
>
> Janacek is certainly not exclusively Czech these days and neither
> should it be because he is, in my opinion, a magnificent international
> opera composer whose music I have loved and been playing for over 40
> years.
>
>
June 22 sees Katya Kabanova at ROH up against Jenufa at Holland Park. I
assume this is mere coincidence, but would support, rather than detract
from, the above statement.
I wish to see both productions but not, as it happens, on that
particular evening.
alanwa...@aol.com
See both. Both marvellous works. A very special composer for me.
Very special.
La Donna Mobile
Believe you me, that is my intention!
Stephen Jay-Taylor
with Janacek as somehow too suave or lacking in necessary roughness. The one
thing that's always attracted me to his recordings was a definite sense that
here was the nervy, edgy Janacek sound to the life. He certainly gets
playing out of the Vienna Philharmonic that belies both that view, and their
otherwise all-purpose plush. Now Haitink, THERE'S a conductor who turns
Janacek into Tchaikovsky from the word go, one reason among many that I so
dislike the Erato recording of the ROH's staging now at the Met. And
Abbado's Salzburg "Fom the House of the Dead" is cut from very similar,
well-upholstered sonic cloth, as is Rattle's ROH "Cunning Little Vixen" [
actually the most ravishing and uplifting of all his operas ].
SJT
Daniel Kessler
Stephen Jay-Taylor wrote:as is Rattle's ROH "Cunning Little Vixen" [
> actually the most ravishing and uplifting of all his operas ].
>
really? I guess that is a matter of opinion -- they're all uplifhting and
wonderful, maybe you're not that familiar with the others
Did you happen to catch the "Broucek" at the ENO some years ago conducted by
Mackerras? Did you catch the concert Barbicam "From the House of the Dead" in
the same time-frame? Did you catch the Glyndebourne "Kat'a" or "Makropoulos"
with "Silja? Did you manage to see the "Vixen" by Bryden at Covent Garden under
Rattle's baton? I saw all of these.
...that Salaburg "House of the Dead" under Abbado was a misfire -- I was there!
And worse still was Klaus Marie Gruber's wrong-headed staging, seen again, to my
dismay when I was in Paris at the Bastille a couple of years ago (well, he
changed the lighting a bit -- but that was all). I was hoping I'd seen the last
of that Salzburg production and Klaus Maria Gruber who once studied under
Strehler.
On the other hand, I rate Peter Mussbach's production of "From the House of the
Dead" which I saw at the Theatre de la Monnaie some years ago when Mortier
still ran it -- it was the best one. It was such a tour de force that at the
conclusion -- it brought everyone to their feet in cheering although the cast
could have been better. Sonically, the Barbicam one by the Scottish opera did
it better..
I'm not too hopeful about the upcoming Met premiere with a production conceived
by Patrice Chereau. Why Chereau? Ever since his well-known and famous Bayreuth
Ring, I can't think of a single success he's had since. Of course, in an
interview, he admitted that he had not staged much opera overall. I recall his,
"Contes d'Hoffmann" at the Garnier some years ago with Alain Vanzo, Mady Mesple
and Christine Edda-Pierre and it was a dud! He moved the setting to London.
alanwa...@aol.com
wrote:
I'll try again. I have heard some of the Decca Janacek, not all and
as I have been at pains to point out if that is a first or only
introduction to Janacek I do not have an argument with that being
entirely satisfactory.
But Janacek is an immensely complex and diverse composer, in my
opinion and so there is no "one way" of performing
him as with any other composer and I believe that those that love his
music might wish to explore further.
Also on sonic evidence only Sir Charles appears to have a larger
string section than he would encounter in the Czech Republic which
might also affect the wonderful "balance" in Janacek operas or change
the view of people listening to a Czech Gas Light and Coal Company
Orchestra and the Salesgirls Singers and Chorus.
Also I am not really qualified to comment on singers. I have only
paid to go to an opera five times in my life (and I am over 39) and
usually I have no idea as to what is going on sonically
and anyway I prefer them to pay me for going to the opera.
I'm no good with "In Questa Reggia" either. I spend the entire
bloody thing fretting about and constantly checking my tuning and
trying to successfully navigate the minetrap semi quaver rests so
kindly set by Mr Puccini here and there. It's still a bugger to do -
is that word allowed?
(She has her probs, I have mine. I am not interested in her probs)
I just think that people seriously interested in Janacek should
venture beyond Sir Charles if they can afford to do so.
And venture beyond the operas for that matter if they have not
done so already.
Lescaut my favourite Puccini part to play. I actually think it
probably his greatest opera but I am likely to be wrong
about that as well.
As always, a personal opinion and only that.
wkasimer
wrote:
re Janacek -
> And venture beyond the operas for that matter if they have not
> done so already.
Which non-operatic works would you recommend as top-drawer Janacek,
and as introduction to his music?
Bill
alanwa...@aol.com
Orchestrally/vocally I would say the Sinfonietta, Glagolitic Mass,
Taras Bulba, possibly the Lachian Dances for a lighter side.
Jealously for orchestra was
the original prelude to Jenufa by the way
but the composer dropped it.
Chamber: both Quartets are absolutely essential, works of genius both
(an opinion), among my favourite chamber music of all.
Piano, not much of it but some of high quality with
great intensity, the various books of Along an Overgrown Path, In the
Mist and most particularly Sonata 1.x.1905, the latter for certain a
masterpiece for the instrument I would say.
Apologies for the late response. Using Google I was confronted with
postings going back to December and it was not until I clicked on View
All (or something similar) that I discovered your question.
That is where I would start outside of Janacek opera.
Forced to one choice: the two Quartets, often coupled together.
thierry
wrote:
I agree with your choices, but please don't forget the Pohadka (tale)
for cello and piano. And the "diary of one who disappeared"
th.
alanwa...@aol.com
>
> - Show quoted text -
I love all his music but on this occasion I was just trying to
recommend the "main" pieces outside the opera repertoire.
Currently listening to a terrific performance of the Sonata for violin
and piano (Josef Suk and Bohumila Jedlickova) on a long lost 2-CD
Carlton Classics album which also includes the cello piece in another
fine performance. The soloist in the latter is Michaela Fukacova.
Glorious pieces, both.
wkasimer
quartets.
Bill
alanwa...@aol.com
Report back if you care to do so. And if you do like one or both of
them then rapidly proceed to th's recommendation: Prohadka for cello
and piano.
It is my opinion that No 2 (Intimate Letters) is one of the greatest
string quartets around and, for want of a phrase, is pure Janacek.
He is one of the most utterly individual composers I have encountered
in my life.