Zemlinsky operas

[Alan Howe]

Could friends direct me to the best Zemlinsky operas/recordings, please?

[albion]

First and foremost, Der Zwerg (1919-21), based on Wilde's The Birthday of the Infanta. A truly superb piece, performed complete under James Conlon on EMI:

http://www.amazon.co.uk/Zemlinsky-Zwerg-Alexander-von/dp/B000006DE9/ref=sr_1_7?ie=UTF8&s=music&qid=1281793221&sr=1-7

Next, a virtual 'companion' piece brimming over with passion, Ein florentinische Tragodie (1915-16), Wilde's murderous tale of love and revenge, perhaps best served up by Chailly:

http://www.amazon.co.uk/Zemlinsky-Symphonie-Royal-Concertgebouw-Orchestra/dp/B00008MLU3/ref=sr_1_1?ie=UTF8&s=music&qid=1281793352&sr=1-1

Finally, another Conlon EMI set (now cheaply re-issued without libretto), Der Traumgorge (1904-06), about a naive boy who finally wins his girl:

http://www.amazon.co.uk/Alexander-von-Zemlinsky-Various-Artist/dp/B002ZBTWN8/ref=sr_1_1?ie=UTF8&s=music&qid=1281793507&sr=1-1

The original release can still be had, but it's getting expensive:

http://www.amazon.co.uk/Zemlinsky-Traumg%C3%B6rge-Andreas-Schmidt/dp/B00004Z0EF/ref=sr_1_3?ie=UTF8&s=music&qid=1281793507&sr=1-3

Those should keep you going!

[Pengelli]

But if it boiled down to just one?

[albion]

But if it boiled down to just one?

Definitely Der Zwerg! I saw an excellent production of this one-act masterpiece by Opera North in their highly enterprising 'Eight Little Greats' season (2004) - brilliant music and superb theatre.

[Alan Howe]

Thanks!

[john_boyer]

But if it boiled down to just one?

...then go with either of the two recordings of "Der Konig Kandaules".   One is on Capriccio, the other on Andante.  Each has pros and cons, but you can't miss with either.  "Kandaules" is my favorite Zemlinsky opera.

[Revilod]

I'm no authority on Zemlinsky's operas but "Es War Einmal" is enormously attractive, much of the music in Act 1, in particular, being irresistible. The ravishing waltz-like song, the music of which is also used in a purely orchestral interlude, is a tune you'll never forget. The last few bars of Act 1 were composed by Mahler, by the way. There's only one complete recording:

http://www.amazon.co.uk/Einmal-Graf-Danish-Johansson-Westl/dp/B00002604E/ref=sr_1_5?ie=UTF8&s=music&qid=1281805213&sr=1-5

[Pengelli]

Thank you. I was thinking of that one,but you seem to know allot about this genre.

[Alan Howe]

I have bought Conlon's recording of Der Zwerg and I think I detect the one problem with Zemlinsky's music - the distinct lack of something utterly memorable. The orchestration is gorgeous, the word-setting imaginative, the variation of pace and colour ear-catching, but almost nothing remains in the memory. Still, I am thoroughly glad to have heard the opera.

This morning, by comparison, I caught an excerpt from Die Frau ohne Schatten on the radio and there immediately was the missing component - memorable melody which I have been unable to dislodge from my brain all day.
Is it me?

[albion]

Is it me?

Quite possibly (remember Schreker)! 

Very glad that you enjoyed the opera - if you listen a number of times, passages will probably lodge. I would also strongly recommend the inexpensive EMI Triple of Conlon's orchestral/ vocal Zemlinsky recordings:

http://www.amazon.co.uk/Zemlinsky-Orchestral-Works-James-Conlon/dp/B00127ISG8/ref=sr_1_1?ie=UTF8&s=music&qid=1282412331&sr=8-1

[Alan Howe]

I know most of Zemlinsky's (orchestral) output - although not as well as I might/should. Strangely, the piece of his that I can call to mind most easily is the B flat Symphony, of which I am extremely fond. Nevertheless, I am very glad to have made the acquaintance of Der Zwerg and it will doubtless grow on me.

[eschiss1]

The Zemlinsky orchestral work I most want to re-hear at this time is the 1934 Sinfonietta (though the Lyric Symphony is quite good as are other works. I am not yet very familiar with his operas - of the works I do know, my favorites at this time are his last two string quartets...)
Eric

[Pengelli]

Not an opera,of course,but I remember BBC4 broadcast 'Die Seejungfrau' a few years ago. I remember the resident critics picking it apart. I remember thinking,'they won't think much of it'!
'Die Seejungfrau' aside,it seems to me that whenever a neglected work gets revived at a concert hall,the critics always seem to have a negative opinion. Their evaluation always kicking off with the usual comparison with acknowledged masters of that particular genres & how bits of it sound like this or that composer.
Recently,some of the criticism towards certain neglected composers seems to have softened a little,possibly an awareness of the fact that certain record companies are doing well out of this kind of stuff & somebody must think what they're selling is pretty good otherwise they would have gone under?

[albion]

Die Seejungfrau is indeed a very lovely work, as most early Zemlinsky proves to be. At the moment I'm listening to his Symphonies 1 & 2 a la James Conlon but in pre-Angel guise (refer here http://www.unsungcomposers.com/forum/index.php/topic,647.0.html). As with Schreker's early Symphony there is such a lot of highly attractive invention here that I rejoice daily that such things have been recorded and are available for repeated listening (which I think is essential - no wonder so many works in the pre-recording era fell by the wayside, crowded out by other repertoire before they had the chance to be heard more than once or at best twice).

Recently,some of the criticism towards certain neglected composers seems to have softened a little,possibly an awareness of the fact that certain record companies are doing well out of this kind of stuff & somebody must think what they're selling is pretty good otherwise they would have gone under?

I think a large part of it is the growing availability of information regarding such composers, especially via the internet. It is much less easy today for a critic to dismiss an 'unsung' composer out of hand, partly because he or she knows that his or her views will be readily and publicly challenged by forum-haunting afficionados with far greater expertise. 

[Pengelli]

Quite! More power to us! Actually, I think allot of critics,especially those writing for newspapers,are probably also a bit afraid of stepping out of line with their peers. I mean,oh dear,who wants to be seen praising,(just taking him as an example),a 'throwback' like Bantock. I mean,how infra-dig? Elgar admired him of course,but,heck,what would he know!