Another Swedish romantic opera from Sterling

[Mark Thomas]

Due out at the beginning of next month from Sterling is a 2001 recording by Swedish Radio of Andreas Hallén's Waldemarsskatten, a four act romantic opera from 1898. Details and sound bites here.

[Justin]

It sounds wonderful! I am an admirer of Hallén's works so definitely looking forward to this. Late romanticism in all of its glory.

[Justin]

For anyone who has listened to this album, do you also notice audio distortions in the first and third acts?

[Alan Howe]

Yes, I noticed a couple of short instances of distortion - presumably faults on the original recording. Nothing much to worry about, though.

The general idiom is reminiscent of the more lyrical Wagner of, say, Lohengrin, Tristan, or parts of the Ring. The problem, I think, is a certain 'bland sameness' throughout. As a composer Hallén was evidently no genius. However, it's as well done here as it's likely to be, with singers evidently capable of handling the often strenuous vocal writing and excellent orchestral support.

I was expecting to enjoy this more than was the case. Coincidentally, I'd bought Ethel Smyth's roughly contemporary Der Wald and found that much more convincing, for two reasons: (i) it's more concise, and (ii) its music is much more varied. Sameness really kills the Hallén by comparison.

Here's a perceptive assessment:
https://philsoperaworld.blog/2023/08/20/andreas-hallen-waldemarsskatten-the-treasure-of-waldemar-1899/

[eschiss1]

Perhaps, like some composers, he was better at some things than others (not every composer was equally good at opera) - he also has an early piano quartet among other works.

[Alan Howe]

Writing an opera makes huge demands on any composer. Writing an opera after Wagner in the late romantic period was a virtual impossibility - he was that dominant a figure. Not that composers didn't try. Not that some didn't produce good results. But the best of them did something individual and I'm not sure that applies to Hallén's opera.

[Justin]

It certainly has more lyricism than Wagner (I only really enjoy Parsifal as the rest are too drab for me) but you are correct Alan in noting the sameness, certainly in Act III from my listening experience. Stenhammar does a better job of lyricism and variety in Gillet på Solhaug.

Reading the booklet for Hallen's opera, it shows that critics were happy with Wagner-inspired textures combined with the presence of melody in the vocal parts, which I grant are very enjoyable in the beginning of Act II with the Mayor and maypole dancers.