The discussion some weeks ago about the quality of singing in Schreker operas led me to listen again to the recording of Magnard's Guercoeur conducted by Michel Plasson. Why? Because it features wonderful singing by an excellent cast the like of which we haven't yet encountered in Schreker. Certainly no-one of the vocal excellence of José van Dam has ever sung Schreker in the modern era, and Gary Lakes and Hildegard Behrens aren't far behind, despite deficiences in their French accents.
If you don't know the Plasson recording, do give it a try. The opera isn't exactly brimming with tunes, but it's an exciting and at times uplifting listen, especially as performed by van Dam & co.
You can visit a rare cycle of performances in Osnabrück next year, beginning 15 June 2019:
https://www.theater-osnabrueck.de/spielplan/spielplandetail.html?stid=545&auid=471054 (https://www.theater-osnabrueck.de/spielplan/spielplandetail.html?stid=545&auid=471054)
You are perfectly right, Alan. I love this recording very much - and, of course, all of Magnard's works! Plasson and Van Dam were an ideal cast!
Another great French opera of similar rare interst is Roussel's "Padmavati" (also with Plasson and Van Dam).
Many years ago I worked with Van Dam at the Zurich Opera, where he sang Falstaff. But there he had already a lot of memory problems. He was a wonderful person, and imagine the talks we had! in 1988 he also acted quite a daemonic music teacher part in a movie by Gérard Corbiau called "Maestro".
Van Dam was one the greatest singers of the 20th century. I don't think he is as appreciated as much as he should be. What a voice: absolutely even from top to bottom, coupled with a vivid presence in whichever role he was undertaking.
I absolutely love the work, and always wonder why it has not been revived on ANY stage since its 1st performance (the Capitole in Toulouse presented a concert version only, around the recording sessions for EMI, but not staged).
In my opinion, the recording is affected by an uneven casting : Van Dam is, of course, at its very best, in this beautiful role, but Hildegard Behrens is absolutely atrocious... The chorus has a lot of intonation problems...
Van Dam was an incredible singer. I worked with him many times in Lyon, and he was always a gentleman, very discrete, very "racy"... A great artist who left only good memories to those who were lucky to encounter him.
Thanks for bringing these performances to our attention ! I'll definitely make the trip to Osnabrück !
I couldn't disagree more about Behrens. I think her strong, silvery tone is wonderful in this music.
Can anyone say in a bit more detail why the opera itself is so worthwhile? I always planned to investigate it but was put off by Ralph Moore's dismissive review on Amazon.co.uk. He knows what he's talking about and calls it "interminable". I know I should make up my own mind but when there's so much music out there you can save a lot of time by reading the opinions of respected critics.
The work isn't exactly brimming with melody - that's its problem, musically speaking. However, the Plasson performance is so well sung, particularly by van Dam, that my reservations at least were soon set aside. It depends what you're looking for or used to. If you're after French verismo - look elsewhere: Charpentier's Louise would fit the bill. However, if you love, say, Parsifal, then you'll probably like Guercoeur. Try the audio excerpts here:
https://www.amazon.co.uk/Magnard-Guercoeur-Michel-Plasson/dp/B0083GVG1K/ref=sr_1_3_twi_mus_2?ie=UTF8&qid=1528031598&sr=8-3&keywords=guercoeur (https://www.amazon.co.uk/Magnard-Guercoeur-Michel-Plasson/dp/B0083GVG1K/ref=sr_1_3_twi_mus_2?ie=UTF8&qid=1528031598&sr=8-3&keywords=guercoeur)
And it's cheap!
Bravo, Alan, for defending this wonderful and original "tragédie en musique", which I also admire very much. Incidentally, composer Guy Ropartz re-orchestrated from memory the two missing acts which got destroyed in the fire of the house during that German attack in 1914, in which Magnard was killed). In any case, this piece (TT 180 minutes) is less "interminable" than Parsifal's 260 minutes.
Thanks gentlemen. I'm a fan of "Parsifal" (and also of "Louise") so I'll give it a try.
QuoteIn any case, this piece (TT 180 minutes) is less "interminable" than Parsifal's 260 minutes.
My thoughts exactly. The last time I played
Parsifal to my mother (an avid opera fan), she fell asleep - in Act 1!!
"In any case, this piece (TT 180 minutes) is less "interminable" than Parsifal's 260 minutes. "
My thoughts too, and on that we finally find a thing to agree on with Alan... ;D
Quite so!
Question: has anyone spotted the similarity between the wonderful quartet (3 sopranos, 1 contralto) at the end of Act 3 and the famous trio towards the end of Act 3 of Der Rosenkavalier? Magnard's opera was written first, of course, (1897-1901), but not performed until 1931. Strauss' opera was first performed in 1911. I imagine the similarity is purely coincidental (how could it be otherwise?), but it's a fascinating comparison nevertheless. For those who have the Plasson recording, it's track 15 of CD3.