Enna: Kleopatra

[eschiss1]

Strange though it is to do so, I find it useful to distinguish "memorability" as an abstract concept and the degree to which one remembered something on one or two listens, for various reasons...

[Alan Howe]

From the excerpts at Presto...
https://www.prestomusic.com/classical/products/8829256--august-enna-kleopatra
...this sounds like a rather gorgeous slice of Danish verismo. However, the singing is clearly sub-par; I imagine the problem is finding native singers (or at least soloists who can handle Danish) capable of rising to the challenge of such strenuous vocal writing.

[jim43]

Danish being a notoriously difficult language to sing in, I'd rather forgive some of the Danish (I can only judge it to a certain extent, being more comfortable with Norwegian) than have to forgive the singing. I too have not been impressed with the Enna I've seen (only scores, not performances) so I'm curious. I'll have to take a look at the vocal score on IMSLP.

[Alan Howe]

I'd rather forgive some of the Danish...than have to forgive the singing

I agree. The singing's poor, I'm afraid. This music requires vocal glamour, surely.

[Alan Howe]

...but the music is absolutely gorgeous, richly scored and melodically generous. The singing on the male side is adequate, no more, but Kleopatra herself is radiantly sung by Elsebeth Dreisig. Overall this is an unmissable release, beautifully recorded and played. The idiom is somewhere between Wagner (Tristan) and verismo; the opera's date is 1894 (fp), which places it between Puccini's Manon Lescaut and La Bohème. Fascinating...

[Justin]

I will listen to it today. What are the highlights for you, Alan?

[Alan Howe]

I don't know it well enough yet. It's uniformly attractive throughout, but there's a particularly fetching scene for the tenor at the start of Act 2/CD2. Tracks 3 and 8 of CD2 are also stunning in their impact

I know we'll probably never get another recording, so the chances of hearing it better sung are pretty well zero, which is a pity. Nevertheless, this is an essential purchase for opera lovers, especially those of us who revel in this late romantic stuff. And one thing's for sure: it's the best music by Enna by a mile (judging by what we know of his compositions so far).

[Justin]

Having just listened to this and writing with his second symphony in mind, this work is on a completely different skill level.

I was impressed by Enna's ability to keep the captivating melodies coming, although I become overwhelmed at some parts, as the music and multi-voice sections are very textured. This certainly requires multiple listens due to the sheer depth of his orchestral writing. My only surprise is that there weren't more Egyptian-sounding harmonies (besides Cleopatra playing the lyre), but I am not complaining. The story itself is interesting too, and I was reading the libretto just by itself like it was a novel.

The highlight from my first listen would be Scene V from Act I (Track 9). When Hamarki and Cleopatra discuss her dream and how life and death depend on her (a warning to the audience of her immense power as an omnipotent ruler), the strings are incredibly delicious. I wouldn't call them sweet, but perhaps luscious. Their development reflects Hamarki's growing love for the Queen, and he becomes weak, just as the listener does when he surrenders himself to the melodies. You get completely carried away by it all.

Notable lovely sections on this track occur at 4:25, 5:30 and the final ensemble section at 9:30.

Maybe after I put in 250 more hours of listening time, I can comment further on other scenes. 

To follow on Alan's point, don't let Enna's other works deter you from giving this a listen. Heartily recommended.

[Alan Howe]

I have returned to Enna's opera several times and find it growing on me. It's an absolute stunner - often very beautiful and extremely powerful.

For me the choice of 'Unsung Operatic Recording of 2020' is between this and Raff's Benedetto Marcello.

[Mark Thomas]

I'd add a third nomination to that list: Saint-Saëns' Le Timbre d'Argent in the new Palazzetto Bru Zane recording - a terrific opera, given the stunning performance it deserves.

[Alan Howe]

Agreed - I'd forgotten about the Saint-Saëns, even though it's sitting not more than a couple of feet from me. However, I'll go with the Enna - a compact verismo stunner if ever there was one...

[Justin]

In my opinion, "Kleopatra" has a more interesting libretto.

[Alan Howe]

I just think that the music grabs your attention and never lets you go.