Hans Gál: Das Lied der Nacht

[mikehopf]

Oper (Starts at 1705/1:05PM): Theater Osnabrück Aufzeichnung vom 29.04.2017
Hans Gál "Das Lied der Nacht "
Dramatische Ballade in drei Bildern
Libretto: Karl Michael von Levetzow
Gritt Gnauck, Alt - Fürstin-Äbtissin
Lina Liu, Sopran - Lianora, Erbprinzessin von Sizilien
Susann Vent-Wunderlich, Sopran - Hämone, jüngere Folgedame
Rhys Jenkins, Bariton - Tancred, Vetter Lianoras
José Gallisa, Bass - Kanzler-Reichsverweser   
Ferdinand von Bothmer, Tenor - Bootsmann, Namenlose Sänger
Opernchor und Extrachor des Theaters Osnabrück

On DKR Saturday night.  Oh for The Holy Duck!
Osnabrücker Symphonieorchester
Leitung: Andreas Hotz

[mikehopf]

What a lush gorgeous work!

Here is the review of the first performance:

After the success of the Heilige Ente there followed Gál's third opera, Das Lied der Nacht ('The Song of the Night', Op.23), a romantic drama set in 12th century Sicily, with a Turandot-like plot [the opera was written in 1924-25, was therefore almost simultaneous with Turandot, and had its first performance just one day before Turandot (on the 24th April, 1926)]. It was premièred in Breslau in 1926, and then in Düsseldorf, Königsberg and Graz. This opera, called a 'dramatic ballad', again had a libretto by Levetzow, and it brought further confirmation of Gál's standing as an opera composer. The critic of the Schlesische Tagespost wrote of the first performance:

"A great success. For me personally the evening was altogether one of the most powerful operatic experiences ever! Music and poetic conception combined in the happiest fashion."

In Breslau, where all previous Gál operas had been performed (and in 1924 even a carnival parody under the title Die Heilige Rente: nach der Oper von Gans Egal), das Lied der Nacht was received as a new high point:

"One doesn't know whether to emphasise the extraordinary variety and expressive colour in his music, which confronts us in the exposition, or the magnificent musical construction of the second 'Scene', which has rarely been equalled in the operatic literature. Corresponding to this exuberant lyricism in mood and solemnity there is the depth of symphonic ideas, whose working out reveals the hand of the mature practitioner. The harmonic combinations are thoroughly modern, but modern in the best sense; they signify an enrichment of the expressive palette, they are spiritually conceived, they communicate throughout an original experience of beauty... All in all, therefore, the new opera constitutes an enormous advance for the composer, as, alongside the mastery and creativity which we had already admired in the 'Heilige Ente', it opens up for the first time the fullness of his heart. And so it will always be considered the most valid testimony of his talent so far." [Breslauer Zeitung]

[museslave]

I recorded the radio broadcast last night, and have a ticket for May 12.  It IS a gorgeous work.  The second act is stunningly beautiful.  Wish I had an English libretto.  I did find that UA has the whole first act in full score available on their website, so maybe I can copy and translate the first act...a step in the right direction anyway.  ; )

[Wheesht]

This is now available on CD from CPO - on special offer until the end of the month if ordered directly from jpc.de

[Alan Howe]

Frankly, I've found it a bore - so far (CD1). Sorry. But I haven't got to Act 2 yet....

[Alan Howe]

...and Act 2 is indeed a fine piece of writing, in its rather restrained way. The vocal writing is often very beautiful, but it does take a long time to 'get going' and then I find the tension dissipates all-too quickly. Gal does know how to write for the voice, however - which is more than I can say for late Schreker (who was probably trying to do something quite different, I admit). The highlight is probably the lovely duet in track 6 of CD2.

Like much of Gal's music, I suspect this might grow on one with repeated listening.