Franz Schreker

[Alan Howe]

That's good to hear. But can they attract the top singers to learn this repertoire?

[brendangcarroll]

It's the managers and intendants that are responsible for attracting singers, not conductors.  They have the power to hire and pay. So it is the Peter Gelbs of this world who weild the chheque books.

[Alan Howe]

But do they really know about singers? Is Albrecht, for example, getting the singers he needs - or just the singers he's given?

[adriano]

As already mentioned earlier, Alan, they mostly don't. And, mostly, conductors are the last ones, to be asked. For such repertoire, they (agents, mangers, conductors) first just look around for whom is already singing such parts. It does not make sense of promoting a new/joung singer through a Schreker or a Korngold opera. It's the Verdis and Mozart which count. In the 1990s we had in Zurich soprano Gabriele Lechner, who gave a wonderful Carlotta in Inbal's unfortunate "Gezeichneten" (with an already problematic Protschka). She was hired later by other conductors for such repertoire, especially for concert performances, like a superb Radio France "Schreker program" (with vocal and symphonic pieces) of 1995 conducted by Michael Gielen - or another similar concert (with the Orchestre de la Suisse Romande) of one year later conducted by Armin Jordan (both also using tenor Michael Austin). Gabriele Schnaut was also a very interesting Schreker soprano - and she also liked this composer.
So one can even say that there will always be a little group around, specialized in such repertoire. This is also very practical for last minute illnesses, in case "experimental singers" are being used. One must also consider particular cases: elderly singers sometimes accept such repertoire in order to remember audiences that they are still there, like James King, who sang "Die Tote Stadt" much too late - if I am not wrong. Today we have former Rossini/Mozart tenor Roberto Saccà, who developed into the dramatic repertoire (he sang "Der Ferne Klang" in Zurich a few years ago, the same thaatre where he sang Almaviva & Co. And he is an intelligent singer with poerfect German pronounciation. Another good example of a good singer is baritone Michael Volle, who is in good shape and likes Schreker - and is being hired repeatedly for such music. But he is "just a baritone"... Most tenors today are not perfectly German speaking, and it is always painful to hear their defective pronounciation - in operas where the text is also very important. I fear the times of cultured "Korngold, Schreker and Zemlinsky singers" singers like Firtz Uhl, René Kollo and Josef Protschka have gone by for ever. Tomas Moser may also belong to this category. I don't speak about their technical values. Schreker and Korngold also call for intelligent singers, not only for excellent Wagner-Verdi types. Hearing today Maria Schreker singing pieces from her husband's operas - and arias by other composers - one just wonders why such a tiny voice could reach gallery audiences - and I am sure her voice does not sound tiny because of the insufficient shellack audio technique!
The forthcoming season's Zurich production of "Die Gezeichneten", incidentally, will be conducted by Jurowski, its cast will be communicated next week.
(Please note that my postings are not those of Schreker authority!)

[Alan Howe]

You may not be a Schreker authority, but you write with authority about the problems of casting singers! Thank you!

[adriano]

My pleasure, Alan 
My "desert island" Schreker opera is definitely "Der Ferne Klang". Listening to that "old" Radio recording of 1955, conducted by Winfried Zillig (with Helmut Krebs, Helga Pilarczyk and Hans-Herbert Fiedler), one gets a bit nostalgic and sad, that often today one does not have such singers anymore. Consider the fact that Krebs's voice was not particularly fit this part on stage, but listening to him in this Radio Concert-hall, one cannot even believe... Even the earlier historical version (1948!) of "Der Ferne Klang", also conducted by Zillig (with Ilse Zeyen and Heinrich Bensing) is a treasure. Another excellent "concert" (broadcast) version is the one conducted by Ernst Märzendorfer in 1976 with both excellent Eberhard Büchner and Maria de Francesca in the title roles) - which was available on BJR or MRF records (and I personally know the guy who was responsible for this...). In 1960, Zillig also recorded "Die Gezeichneten" for the Radio, and again with Helmut Krebs! Besides him we have the splendid couple Evelyn Lear and her Thomas Stewart. What more do we want? 
Of "Der Ferne Klang", we must not forget the CD recordings published by Naxos-Marco Polo (1989), by Capriccio (1991) and by Ars (2011), which are quite recommendable, considering the enormous difficulties of the piece! I think the last one is even better conducted than Gerd Albrecht's version for Capriccio.
But, as far as Kaufmann singing a Schreker role, I have my doubts. But he surely has a perfect German pronounciation...

[Alan Howe]

Kaufmann will never be tempted to sing this repertoire, I'm pretty sure. He's aiming for Tristan...

[eschiss1]

Jonas Kaufmann has sung (in) Szymanowski's Krol Roger, so he's not wholly allergic to undersung music (though Szymanowski does not fall within _our_ purview, he's still relatively undersung- not as much so as once, true.)

[Alan Howe]

As far as I can see that was back in 1997, though...

[brendangcarroll]

Thank you all! I am delighted Jurowsky is to conduct Die Gezeichneten.

As for Kaufmann, he has announced that he is learning the role of Paul in 'Die tote Stadt' but as yet, no production has been announced for him to debut in the part.

Surely not the New York Met? (although in 2021 it will mark the centenary of its famous production with Jeritza and Orville Harrold...so maybe....)

[eschiss1]

For Saariaho-levels of agonizing, which aren't actually very. (Or Berg's Lulu (1935- 80 years old, fgs!!!!) values of "Contemporary" (2014-15 season.) One's 80-year-old parents should feel so contemporary...) but yes, it does look like they may not have performed Korngold since 1927 (Violanta) (Not sure.) ? (though NY City Opera revived a Korngold opera in 1975 and 2006 at Lincoln Center.)

[adriano]

The cast of the new Zurich Opera production of "Die Gezeichneten"
(conductor Vladimir Jurowski - alternating with Mrs. Giedre Slekyte), stage director Barrie Kosky, scenic design: Rufus Didwiszus)
(September 23, 26 - October 2, 9, 12, 17, 20, 23, 2018):

Herzog Antoniotto Adorno / Der Capitaneo di giustizia Christopher Purves
Graf Andrae Vitelozzo Tamare Thomas Johannes Mayer
Lodovico Nardi, Podestà der Stadt Genua Albert Pesendorfer
Carlotta Nardi, seine Tochter Catherine Naglestad
Alviano Salvago John Daszak
Guidobald Usodimare N. N.
Menaldo Negroni Iain Milne
Michelotto Cibo Oliver Widmer
Gonsalvo Fieschi Cheyne Davidson
Julian Pinelli Ildo Song
Paolo Calvi / Dritter Bürger / 2. der jungen Leute Ruben Drole
Ginevra Scotti Natalia Tanasii
Martuccia Judith Schmid
Pietro Omer Kobiljak
Ein Jüngling Thobela Ntshanyana
Dessen Freund / Diener Jung Rae Kim
Ein Mädchen Sen Guo
Erster Senator / Erster Bürger / 3. der jungen Leute Jamez McCorkle
Zweiter Senator Dean Murphy
Dritter Senator Alexander Kiechle
Zweiter Bürger / Vater Yuriy Tsiple
Eine Dienerin, Mutter Asahi Wada
Philharmonia and Chorus of the Zürich Opera

https://www.opernhaus.ch/spielplan/kalendarium/die-gezeichneten/season_50348/?utm_source=NL+Saisonvorschau+18%2F19-FINAL&utm_medium=email&utm_campaign=eNewsletter&bpid=2000015995&nlid=2282671128&mid=100085556&chk=Rmh6RTVaFX

[savvy]

Hallo Brendan, I have a peripheral question. I read in your article that Maria Binder "was bisxual and enjoyed extra-marital affairs". This information is totally new to me and I would like to know more, if possible. Could you please tell me where did you find it? I'm very interested. Thanks!

[Alan Howe]

This shouldn't be much of a surprise. This source offers confirmation:
https://forbiddenmusic.org/2014/07/02/music-from-the-end-of-time-franz-schreker-1878-1934/

Back to the music, please...

[adriano]

Thanks, Alan :-) My comment to savvy would have been "so what??"