Korngold Das Wunder der Heliane

[DK]

Reading this thread with some interest as I am looking forward to the production of Heliane at this year's Bard Summerfest.  The cast includes Ausrine Stundyte in the title role (possibly this is her US debut?), Daniel Brenna, and Alfred Walker--so a promising line-up.  Stundyte sang the role with Opera Vlaanderen with excellent reviews.
On the side discussion of tenors, I think there are actually a good number of excellent tenors at the moment, including Klaus Florian Vogt (best heard live), Michael Spyres, Benjamin Bernheim, and others.  Mingjie Lei, the young tenor who won his round at this year's Cardiff Singer of the Year is very good (I have heard him live) and seems on the way to a good career.
DK

[Alan Howe]

On tenors: Brenna is awful in the Naxos/Götterdämmerung, I'm afraid:
https://www.youtube.com/watch?v=p5IycMgBTVk
Threadbare tone, wobbly - terrible.
By contrast, try Siegfried Jerusalem (from ca.30 mins in):
https://www.youtube.com/watch?v=Y2uESjCC1Ws

[DK]

I have heard Brenna live only once, singing Laca (Jenufa) at the Metropolitan Opera in 2016, and looking at my notes I was not particularly impressed by him noting strain in his higher notes, but he had apparently been under the weather having sung only 2 acts in an earlier performance.  But we shall see, perhaps he will surprise me.

However I am looking forward to hearing Stundyte in this; I have been very impressed by her in the previous times I've seen her live (most recently in 2016), and she has had glowing reviews as well for recent roles including Salome and Renata (The Fiery Angel).  Alfred Walker is also a good singer if perhaps not quite the stage animal that Stundyte is.

[Alan Howe]

I think you're right about Brenna. It seems that he may have damaged his voice in taking on roles too heavy for him. Mind you, he's no longer in the first flush of youth - he's approaching 49.

Ausrine Stundyte sounds a much better bet, but the 'tenor problem' is what kills these productions - as it did the Naxos/Berlin recording.

[Kevin]

Gentleman, what's the best recording of Das wunder der Heliane? I know of the Decca or the new one on Naxos with the ever reliable Fabrice Bollon? I really want to hear a convincing recording of the work(perhaps get both?)

[Mark Thomas]

The best thing you can do, Kevin, is read through the posts above. As you'll see, there's not much agreement....

[Alan Howe]

The Decca. Unless you have to have a DVD.

[M. Yaskovsky]

A review by Dutch website OpusKlassiek finds the Freiburg production (on Naxos) on par with the Decca from the 1990s https://www.opusklassiek.nl/cd-recensies/cd-pk/pkkorngold_heliane_bollon.htm
And an enthusiastic applause for the Belrin production http://operajournal.blogspot.com/2019/06/korngold-das-wunder-der-heliane-berlin.html
So I doubt the Decca is THE recording to go for. I don't like Sintow in it..... stressed.

[Kevin]

Well, if I can I'll get both. I was very impressed with Bollon's version of Die Konigin von Saba, almost matching the classic one with Fischer. Anyway, I'm looking forward to hearing Das Wunder der Heliane because I thoroughly enjoyed my single listen of Die tote stadt, a very impressive piece by a 23 year old.

[Alan Howe]

It's much longer and flabbier than either Die tote Stadt or Violanta. If you don't have the latter, I'd go for that first:
https://www.amazon.co.uk/Korngold-Violanta-Sony-Opera-House/dp/B002V988OS/ref=sr_1_1?keywords=violanta&qid=1565782638&s=gateway&sr=8-1

I'd certainly avoid Bollon's Heliane. Much of the singing is very poor indeed.

[scottevan]

Did anyone else actually see the Bard College music festival production? I'd planned not to go but was *very* glad I was talked into it. Principals were top-notch, staging and direction excellent, and orchestral forces, as conducted by Maestro Botstein, brought out the richness of Korngold's score. My original hesitation concerned the libretto, which I'd heard was problematic. It was actually something of a revelation; compared to most operatic stories I found it literate, poetic and frequently compelling.

It still hasn't replaced "Die Tote Stadt" as my favorite Korngold opera, but is not far behind. And proved once again that operas produced at Bard are not only adventurous, but continue to hit the high marks in performance and musicality.

[Kevin]

Wow. I was blown away by this(first time listen) They way Korngold uses his orchestra makes others look tame by comparison. So rapturous and compelling from beginning to end. I even listened to Die tode Stadt back-to-back with Heliane and found them both a revelation. I didn't even notice time going by because I was so absorbed by the music.

[Finn_McCool]

I am a little late with my reply, but I also saw the Bard performance this summer and I second the review from scottevan3.  The score is very lush, even exotic/otherworldly.  As with all Bard Summerscape productions I have seen (a half-dozen over the years), this production was staged and sung at a very high level.  I enjoyed the choreography during the dream sequence (I think it was a dream sequence!) where many dancers dressed as Heliane are mimicking/commenting on her movements.  Very ethereal and worked very well with the music.  The ending was rapturous and uplifting and ended the performance on a high note (so to speak!).  I would encourage anyone who has even an inkling of attending a Bard performance to just go for it.  Whatever it is, you will not be disappointed.  As in previous years, I didn't have my plans together until the last minute and there were still good seats available when I finally decided to go.  One question I have is:  has anyone been to any of the panels or discussions that go along with the "...and His World" series of performances?  I'm assuming they are also well done, but I have not made it out to any of them yet.  Have there ever been any "..and Her World" productions?  I can also recommend the nearby Spiegeltent for before and after refreshment.