Howard Hanson Merry Mount

[Alan Howe]

I have just discovered this magnificent late-late (1933) romantic opera by Howard Hanson. If you don't know it, do get hold of the (very cheap) 2-CD Naxos set which preserves a magnificent performance conducted by Gerard Schwarz in Seattle in 1996. Much more interesting (IMHO) than the featureless chromaticism of certain other roughly contemporary operas. Its vigour, melodic resourcefulness and sheer grandeur take the breath away.

[Mark Thomas]

After that resounding recommendation, how can I fail to give it a try ? More later...

[Revilod]

Oh, yes! It is one of my favourite operas. An easy way in via the "Merry Mount" suite which Hanson himself recorded. By the way, don't be tempted to get the broadcast performance from 1934 also on Naxos. The sound is absolutely atrocious and it is impossible to derive any pleasure from it.

[Finn_McCool]

I also find this opera captivating.  It is action-packed and very tuneful.  There are also some nice orchestral interludes like the Maypole dance, the forest scene and Bradford's descent into Hell.  This last scene is described in great detail in the liner notes (no libretto is included) and one can only wonder what modern stage designers and directors could do with it.  The music is very provocative.           

[Mark Thomas]

Thank you Alan for introducing me to this magnificent work. What a satisfying, enthralling listen. It's a dark, dark tale, but what fine music it draws from Hanson. 

[Dave]

On the contrary, the 1934 re-issue recording courtesy of Naxos is a major album. The sound is not the state of the art, but it's adequate given its age. But the performance is another story. The singing (by Gota Ljungberg, Gladys Swarthout, Edward Johnson, and especially by Lawrence Tibbett) is uniformly excellent and authoritative. And Tullio Serafin leads the MET with plenty of fire and aplomb. With this recording made before a live audience, it has a wonderful yet moving sense of occasion.

I would say get this recording if you can.

[Finn_McCool]

When this thread first appeared, I went back and listened to the 1996 recording again.  And again.  It really draws you in! I have since upgraded my opinion that the opera was like a B+ opera that tries really hard and doesn't quite get there. Now I feel like it does merit an A- as there aren't really any weak spots, in my revised opinion.

I also own the 1934 recording and I have to agree with Revilod that it is extremely hard to listen to.   The noisiness of the recording distracts from the performances.  The recording quality is so bad that I wasn't even sure it was the same opera in places.  I recently unearthed the 1934 recording from where it had been hiding and I did a track-by-track comparison, just to make sure all the tracks were the same in both performances.   Everything lined up, so I guess the same parts were performed both times!  I seriously could not tell!  The audience response is very exciting, however, and I enjoy hearing Milton Cross' commentary.  I have to assume that advances in technology will enable this recording to be heard in a clearer version at some point.  I look forward to that day!

In my previous post, I think I meant to say that the music was very evocative and not provocative!