Notes and Editorial Reviews
DVO?ÁK UND SEINE ZEIT
•
Barbara Bonney, sop;
1
Michelle Breedt, mez;
2
Thomas Hampson, bar;
3
Georg Zeppenfeld, bs;
4
Wolfram Rieger, pn
•
ORFEO C 656 0521 (2 CDs: 155:13
) Live: Salzburg 8/17/2004
DVO?ÁK
Read more
class="ARIAL12b"> 4 Songs
,
op. 2.
2
Evening Songs
,
op. 3.
4
4 Songs,
op. 82/1,4.
1
Gypsy Melodies
,
op. 55/1,2,4,7.
3
Moravian Duets
,
op. 32.
1,2
3 Spirituals
(adapt. Burleigh).
4 Love Songs
,
op.83/1-4,7,8.
2
Biblical Songs
,
op. 99/1,3,4,7,10.
3
GRIEG
Zur Rosenzeit
, op. 48/5.
1
Ein Traum
, op, 48/6.
1
BRAHMS
Die Mainacht
, op. 43/2.
1
Von ewiger Liebe
, op. 43/1.
1
4 Serious Songs
,
op. 121.
FARWELL
3 Indian Songs
,
op. 32.
3
CADMAN
From the Land of Sky-blue Water.
3
The Moon Drops Low.
3
MACDOWELL
The Sea,
op. 47/7.
3
IVES
Songs my Mother Taught Me.
3
MAHLER
Das Knaben Wunderhorn:
Urlicht
2
This gigantic multiple recital, called “Dvo?ák and His Time,” took place in the
Kleines Festpielhaus
at the 2004 Salzburg Festival and was recorded by Austrian Radio (ORF). Dvo?ák’s op. 2 songs, the
Gypsy Melodies
, and the
Biblical Songs
are sung in Czech; the op. 83
Love Song
s are in English; and the rest in German, including the
Moravian Duets
. Complete texts are provided in the sung language plus one other: German for Czech and English songs, English for the German ones (Bravo, Orfeo). Applause is included at the end of each set; the audience is otherwise silent. This recital could serve as a general survey of Dvo?ák songs, but be aware that most of the cycles are excerpted, as detailed in the head notes.
The whole has an extemporaneous atmosphere, as if the program was thrown together and the singers rounded up at the last minute; of course, this was not the case at a Salzburg Festival. There are some fine things here, along with some not so fine. Barbara Bonney and Thomas Hampson are familiar voices, their singing representative of what we expect from them. Mezzo Michelle Breedt and bass Georg Zeppenfeld are well known on the continent but may be less familiar to American audiences.
Disc 1 is titled “Dvo?ák in his World.” Breedt displays a big voice that typically takes a while to warm up; her operatic heft is overkill for the slight op. 2 songs. Zeppenfeld proves a fine Lieder singer in op. 3, supplying consistent tone, enunciating clearly, and realizing the spirit of each song. Bonney is not especially effective in Dvo?ák or Grieg, but gives moving, almost terrifying performances of the dark Brahms songs. Hampson sings the
Gypsy Melodies
with great power, but I prefer them with a female voice, despite the male persona of one or two.
My
Old Grove
lists the performers of the
Moravian Duets
as soprano and contralto; the lower line is usually sung by a mezzo. EMI’s classic Elisabeth Schwarzkopf/Irmgard Seefried recording (although a soprano, Seefried sang many mezzos roles) with Gerald Moore is accurate and polished, but it is too formal, too German to capture the lovely spirit of this cycle. This performance by Bonney and Breedt is warmer and sweeter; however, the singers are not always together, in time or on pitch. Czechs often assign the two vocal lines to a small women’s chorus; I can’t cite any authority for that, and yet I do find the duets work better that way. My favorite recording is by the Prague Chamber Choir on a Chandos disc; it helps that the language is Czech. Be careful buying recordings of the
Moravian Duets
: This one is the complete op. 32, but most include only five to eight of the 13 duets.
Disc 2 is “Dvo?ák in the New World.” Zeppenfeld’s clean bass, which proved so satisfactory in the
Evening Songs
, merely skims the surface of the three Spirituals (“Deep River,” “By an’ By,” “Steal Away to Jesus”), which cry out for the dark, impassioned tones of a Paul Robeson, or Boris Christoff if he could have managed the language. The music of Arthur Farwell and Charles Wakefield Cadman may have been too exotic for the Salzburg audience, which offers tepid applause. I, too, have an ambiguous response: Hampson’s cultured voice and sophisticated singing seem wrong for this music, his velvet tones those of salon and concert hall rather than field and forest. I don’t have any notion what Native-American singing was like (Farwell and Cadman did, as they devoted much of their musical life to it), but I feel this cannot be right. Nevertheless, one must be grateful to Hampson (who also planned this concert) for keeping this music alive. Charles Ives’s
Songs My Mother Taught Me
may not compare with Dvo?ák’s masterpiece on Disc 1, but Hampson sings it beautifully. Singing six of Dvo?ák’s op. 83
Love Songs
, Breedt’s mezzo at first seems veiled up to
mf
, and she has some trouble producing it, but when she opens up fully in “Death reigns in many a human breast,” her voice is rich and thrilling, and all goes well thereafter. The Salzburg audience eats it up, and I can’t blame them.
A new subtitle now appears: “The World of Faith.” Zeppenfeld is obviously more at home with Brahms’s
Four Serious Songs
; his voice is wrapped tightly around the notes, and he attacks many phrases with appropriate power and strength. When he rings out “I am become as sounding brass” his bass no longer seems light. Probably he had studied and sung these great songs for a long time, whereas the Dvo?ák and the spirituals may have been learned for the occasion. Here, too, one becomes aware of what a fine job pianist Wolfram Rieger has been doing throughout, matching his singers through a broad variety of music. Still, one misses Mahler’s orchestra in “Urlicht.” This time Breedt maintains clean tone by opening at an unsubtle
mf
and never dropping below it. Her adoring audience remains faithful. Hampson is back on track with the
Biblical Songs
; at last he unleashes his full voice, which he so rarely uses.
FANFARE: James H. North
Read less
Works on This Recording
1.
Evening Songs, Op. 3 by Antonín Dvorák
Performer:
Michelle Breedt (Mezzo Soprano),
Barbara Bonney (Soprano),
George Zeppenfeld (Bass),
Thomas Hampson (Baritone),
Wolfram Rieger (Piano)
Period: Romantic
Written: 1876; Bohemia
Date of Recording: 08/17/2004
Venue: Live Small Festival Hall, Salzburg, Austria
Language: German
2.
Lieder (4), Op. 82/B 157: no 3, Spring-Tide by Antonín Dvorák
Performer:
Barbara Bonney (Soprano),
Wolfram Rieger (Piano),
Thomas Hampson (Baritone),
George Zeppenfeld (Bass),
Michelle Breedt (Mezzo Soprano)
Period: Romantic
Written: 1887-1888; Bohemia
Date of Recording: 08/17/2004
Venue: Live Small Festival Hall, Salzburg, Austria
Language: German
3.
Lieder (4), Op. 82/B 157: no 4, At the brook by Antonín Dvorák
Performer:
Wolfram Rieger (Piano),
George Zeppenfeld (Bass),
Thomas Hampson (Baritone),
Michelle Breedt (Mezzo Soprano),
Barbara Bonney (Soprano)
Period: Romantic
Written: 1887-1888; Bohemia
Date of Recording: 08/17/2004
Venue: Live Small Festival Hall, Salzburg, Austria
Language: German
4.
Zigeunermelodien (7), Op. 55: no 1, Mein Lied ertönt "Ein Liebespsalm" by Antonín Dvorák
Performer:
Wolfram Rieger (Piano),
George Zeppenfeld (Bass),
Michelle Breedt (Mezzo Soprano),
Barbara Bonney (Soprano),
Thomas Hampson (Baritone)
Period: Romantic
Written: 1880; Bohemia
Date of Recording: 08/17/2004
Venue: Live Small Festival Hall, Salzburg, Austria
Language: Czech
5.
Zigeunermelodien (7), Op. 55: no 2, Hey! Ring out my triangle by Antonín Dvorák
Performer:
Wolfram Rieger (Piano),
George Zeppenfeld (Bass),
Barbara Bonney (Soprano),
Michelle Breedt (Mezzo Soprano),
Thomas Hampson (Baritone)
Period: Romantic
Written: 1880; Bohemia
Date of Recording: 08/17/2004
Venue: Live Small Festival Hall, Salzburg, Austria
Language: Czech
6.
Zigeunermelodien (7), Op. 55: no 4, Als die alte Mutter by Antonín Dvorák
Performer:
Wolfram Rieger (Piano),
George Zeppenfeld (Bass),
Barbara Bonney (Soprano),
Michelle Breedt (Mezzo Soprano),
Thomas Hampson (Baritone)
Period: Romantic
Written: 1880; Bohemia
Date of Recording: 08/17/2004
Venue: Live Small Festival Hall, Salzburg, Austria
Language: Czech
7.
Zigeunermelodien (7), Op. 55: no 7, Give the hawk by Antonín Dvorák
Performer:
Wolfram Rieger (Piano),
Thomas Hampson (Baritone),
George Zeppenfeld (Bass),
Barbara Bonney (Soprano),
Michelle Breedt (Mezzo Soprano)
Period: Romantic
Written: 1880; Bohemia
Date of Recording: 08/17/2004
Venue: Live Small Festival Hall, Salzburg, Austria
Language: Czech
8.
Moravian Duets (9), Op. 32 by Antonín Dvorák
Performer:
Wolfram Rieger (Piano),
George Zeppenfeld (Bass),
Barbara Bonney (Soprano),
Michelle Breedt (Mezzo Soprano),
Thomas Hampson (Baritone)
Period: Romantic
Written: 1876; Bohemia
Date of Recording: 08/17/2004
Venue: Live Small Festival Hall, Salzburg, Austria
Language: German
9.
Biblical songs, Op. 99/B 185: no 1, Clouds and darkness by Antonín Dvorák
Performer:
George Zeppenfeld (Bass),
Barbara Bonney (Soprano),
Michelle Breedt (Mezzo Soprano),
Thomas Hampson (Baritone),
Wolfram Rieger (Piano)
Period: Romantic
Written: 1894; USA
Date of Recording: 08/17/2004
Venue: Live Small Festival Hall, Salzburg, Austria
Language: Czech
10.
Biblical songs, Op. 99/B 185: no 3, Give ear to my prayer by Antonín Dvorák
Performer:
George Zeppenfeld (Bass),
Wolfram Rieger (Piano),
Michelle Breedt (Mezzo Soprano),
Barbara Bonney (Soprano),
Thomas Hampson (Baritone)
Period: Romantic
Written: 1894; USA
Date of Recording: 08/17/2004
Venue: Live Small Festival Hall, Salzburg, Austria
Language: Czech
11.
Biblical songs, Op. 99/B 185: no 4, The Lord is my shepherd by Antonín Dvorák
Performer:
Wolfram Rieger (Piano),
George Zeppenfeld (Bass),
Michelle Breedt (Mezzo Soprano),
Barbara Bonney (Soprano),
Thomas Hampson (Baritone)
Period: Romantic
Written: 1894; USA
Date of Recording: 08/17/2004
Venue: Live Small Festival Hall, Salzburg, Austria
Language: Czech
12.
Biblical songs, Op. 99/B 185: no 7, By the rivers of Babylon by Antonín Dvorák
Performer:
Wolfram Rieger (Piano),
Michelle Breedt (Mezzo Soprano),
George Zeppenfeld (Bass),
Barbara Bonney (Soprano),
Thomas Hampson (Baritone)
Period: Romantic
Written: 1894; USA
Date of Recording: 08/17/2004
Venue: Live Small Festival Hall, Salzburg, Austria
Language: Czech
13.
Biblical songs, Op. 99/B 185: no 10, Sing unto the Lord by Antonín Dvorák
Performer:
George Zeppenfeld (Bass),
Michelle Breedt (Mezzo Soprano),
Wolfram Rieger (Piano),
Barbara Bonney (Soprano),
Thomas Hampson (Baritone)
Period: Romantic
Written: 1894; USA
Date of Recording: 08/17/2004
Venue: Live Small Festival Hall, Salzburg, Austria
Language: Czech
14.
Liebeslieder, Op. 83/B 160 by Antonín Dvorák
Performer:
Michelle Breedt (Mezzo Soprano),
George Zeppenfeld (Bass),
Barbara Bonney (Soprano),
Thomas Hampson (Baritone),
Wolfram Rieger (Piano)
Period: Romantic
Written: 1888; Bohemia
Date of Recording: 08/17/2004
Venue: Live Small Festival Hall, Salzburg, Austria
Language: German
15.
Songs (6), Op. 48: no 5, Zur Rosenzeit by Edvard Grieg
Performer:
Wolfram Rieger (Piano),
Michelle Breedt (Mezzo Soprano),
George Zeppenfeld (Bass),
Barbara Bonney (Soprano),
Thomas Hampson (Baritone)
Period: Romantic
Written: 1889; Norway
Date of Recording: 08/17/2004
Venue: Live Small Festival Hall, Salzburg, Austria
Language: German
16.
Songs (6), Op. 48: no 6, Ein Traum by Edvard Grieg
Performer:
George Zeppenfeld (Bass),
Michelle Breedt (Mezzo Soprano),
Barbara Bonney (Soprano),
Thomas Hampson (Baritone),
Wolfram Rieger (Piano)
Period: Romantic
Written: 1889; Norway
Date of Recording: 08/17/2004
Venue: Live Small Festival Hall, Salzburg, Austria
Language: German
17.
Songs (4), Op. 43: no 2, Die Mainacht by Johannes Brahms
Performer:
Wolfram Rieger (Piano),
Thomas Hampson (Baritone),
George Zeppenfeld (Bass),
Barbara Bonney (Soprano),
Michelle Breedt (Mezzo Soprano)
Period: Romantic
Written: 1864; Austria
Date of Recording: 08/17/2004
Venue: Live Small Festival Hall, Salzburg, Austria
Language: German
18.
Songs (4), Op. 43: no 1, Von ewiger Liebe by Johannes Brahms
Performer:
Barbara Bonney (Soprano),
Michelle Breedt (Mezzo Soprano),
George Zeppenfeld (Bass),
Wolfram Rieger (Piano),
Thomas Hampson (Baritone)
Period: Romantic
Written: 1864; Austria
Date of Recording: 08/17/2004
Venue: Live Small Festival Hall, Salzburg, Austria
Language: German
19.
Indian Songs (3), Op. 32 by Arthur Farwell
Performer:
Barbara Bonney (Soprano),
Michelle Breedt (Mezzo Soprano),
Wolfram Rieger (Piano),
George Zeppenfeld (Bass),
Thomas Hampson (Baritone)
Period: 20th Century
Written: 1908; USA
Date of Recording: 08/17/2004
Venue: Live Small Festival Hall, Salzburg, Austria
Language: English
20.
American Indian Songs (4), Op. 45 no 1: From the land of the sky-blue water by Charles Wakefield Cadman
Performer:
Barbara Bonney (Soprano),
Michelle Breedt (Mezzo Soprano),
George Zeppenfeld (Bass),
Wolfram Rieger (Piano),
Thomas Hampson (Baritone)
Period: 20th Century
Written: 1909; USA
Date of Recording: 08/17/2004
Venue: Live Small Festival Hall, Salzburg, Austria
Language: English
21.
American Indian Songs (4), Op. 45 no 4: The moon drops low by Charles Wakefield Cadman
Performer:
Barbara Bonney (Soprano),
Wolfram Rieger (Piano),
George Zeppenfeld (Bass),
Michelle Breedt (Mezzo Soprano),
Thomas Hampson (Baritone)
Period: 20th Century
Written: 1909; USA
Date of Recording: 08/17/2004
Venue: Live Small Festival Hall, Salzburg, Austria
Language: English
22.
Songs (8), Op. 47: no 7, The Sea by Edward MacDowell
Performer:
Thomas Hampson (Baritone),
Barbara Bonney (Soprano),
George Zeppenfeld (Bass),
Michelle Breedt (Mezzo Soprano),
Wolfram Rieger (Piano)
Period: Romantic
Written: 1893; USA
Date of Recording: 08/17/2004
Venue: Live Small Festival Hall, Salzburg, Austria
Language: English
23.
Songs my mother taught me by Charles Ives
Performer:
Michelle Breedt (Mezzo Soprano),
Thomas Hampson (Baritone),
Wolfram Rieger (Piano),
Barbara Bonney (Soprano),
George Zeppenfeld (Bass)
Period: 20th Century
Written: 1895; USA
Date of Recording: 08/17/2004
Venue: Live Small Festival Hall, Salzburg, Austria
Language: English
24.
Des Knaben Wunderhorn: no 12, Urlicht by Gustav Mahler
Performer:
Thomas Hampson (Baritone),
Barbara Bonney (Soprano),
Michelle Breedt (Mezzo Soprano),
George Zeppenfeld (Bass),
Wolfram Rieger (Piano)
Period: Romantic
Written: 1892-1898; Hamburg, Germany
Date of Recording: 08/17/2004
Venue: Live Small Festival Hall, Salzburg, Austria
Language: German
25.
Songs (4), Op. 2/B 124 by Antonín Dvorák
Performer:
Barbara Bonney (Soprano),
George Zeppenfeld (Bass),
Michelle Breedt (Mezzo Soprano),
Wolfram Rieger (Piano),
Thomas Hampson (Baritone)
Period: Romantic
Written: Bohemia
Date of Recording: 08/17/2004
Venue: Live Small Festival Hall, Salzburg, Austria
Language: German
Notes: Composition written: Bohemia (1881 - 1882).
26.
Serious Songs (4), Op. 121 by Johannes Brahms
Performer:
Wolfram Rieger (Piano),
George Zeppenfeld (Bass),
Michelle Breedt (Mezzo Soprano),
Barbara Bonney (Soprano),
Thomas Hampson (Baritone)
Period: Romantic
Written: 1896; Austria
Date of Recording: 08/17/2004
Venue: Live Small Festival Hall, Salzburg, Austria
Language: German
Customer Reviews
Be the first to review this title
Review This Title
