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Henze: Der junge Lord / Mathis, Grobe, Dohnányi

Henze / Mathis / Grobe / Mcdaniel / Dob / Dohnanyi
Release Date: 10/28/2008 
Label:  Euroarts   Catalog #: 2072398  
Composer:  Hans Werner Henze
Performer:  Loren DriscollDonald GrobeEdith MathisBarry McDaniel,   ... 
Conductor:  Christoph von Dohnányi
Orchestra/Ensemble:  Schöneberg Boys ChoirBerlin Deutsche Oper ChorusBerlin Deutsche Oper Orchestra
Number of Discs: 1 
Recorded in: Stereo 
Length: 2 Hours 16 Mins. 

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Notes and Editorial Reviews

Hans Werner Henze
DER JUNGE LORD

Luise – Edith Mathis
Wilhelm – Donald Grobe
Sekretär Sir Edgars – Barry McDaniel
Lord Barrat – Loren Driscoll
Begonia – Vera Little
Bürgermeister – Manfred Röhrl
Oberjustizrat Hasentreffer – Ivan Sardi
Ökonomierat Scharf – Ernst Krukowski
Professor von Mucker – Helmut Krebs
Sir Edgar – Otto Graf
Baronin Grünwiesel – Margarete Ast
Frau von Hufnagel – Gitta Mikes
Frau Oberjustizrat Hasentreffer – Lisa Otto
Ida – Bella Jasper

Schöneberger Sängerknaben
Chorus and Orchestra of Deutsche Oper Berlin
Christoph von
Read more Dohnányi, conductor

Gustav Rudolf Sellner, stage director

Recorded at the Deutsche Oper Berlin, 1968.

Picture format: NTSC 4:3
Sound format: PCM Stereo
Region code: 0 (worldwide)
Subtitles: English, German, French, Spanish
Booklet notes: English, German, French
Running time: 136 mins
No. of DVDs: 1 (DVD 9)

R E V I E W:

This is a classic. The audio recording of this production has been around for a long time. This is the first release on modern DVD. It’s surprising that there aren’t any other recordings on the market as Der junge Lord is an established part of the repertoire in Europe, and perhaps the most popular of Henze’s many operas.

Musically, Der junge Lord is very fine indeed. It’s simplicity belies intricately detailed construction. Henze writes cross-currents, not as layers but more like diagonally dissecting counterpoint. There are intersections, even moments of harmony, but Henze is using abstract music to reflect the tensions in the narrative. Being the master he is, it’s done with such finesse that a listener really has to pay attention, particularly to the entr’actes in which the music outlines what is to happen. This is one weakness of DVD where it’s assumed we need something to look at all the time. Solve the problem by closing your eyes and simply listen.

This sophisticated concept of multi-directional writing applies specially well in ensemble. In the first act people are strolling around the promenade in different directions, snippets of conversation operating with little connection. Their lives are purposeless, meandering. The Baronin holds a tea party where her music dominates, her guests singing variations of her themes because they’re trying to copy her. When she and the townsfolk turn against the strange English Lord who moves into town, Henze’s contrapuntal skills come to the fore. The mob scenes are well constructed: individual voices at cross-purposes building up to a seething mass. Particularly wonderful are the children’s choruses, voices too young and too pure to know violence, yet destined to lose their innocence. The children who sing angelically will go on to beat up the Lord’s messenger boy because he’s “Moorish”, African, alien.

Henze’s musical structure reflects the narrative perfectly. The action takes place in a complacent provincial town where people are desperate to conform and copy their social superiors. The Baronin is a woman who married a Duke and travelled to France, the epitome of refinement where people conform to what they think they “ought” to do for social status. Thus the Baronin, a woman who married well - “who has travelled!”, her guests whisper in awe. Tinkling their porcelain tea cups, they pop out phrases in French to show how they, too have savoir faire.

Into this claustrophobic society comes the English Lord, Lord Edgar. He’s a mysterious figure, fabulously wealthy but a wanderer, who’s travelled even more than the Baronin. Among his retinue are the Moorish messenger, dressed in gold and satin, and a strange Creole called Begonia (Vera Little) who cooks delicious sweetmeats but has a tragic past. When the locals turn against a visiting Italian circus, the Lord takes them into his own home. On the audio there’s a detail I‘d previously missed, a tiny moment of peace among the turmoil. On film, the Lord makes eye contact with a circus monkey. It’s over in a flash, but don’t forget.

Screams are heard from the Lord’s mansion, so he has it announced that there will be a fancy dress ball, where the locals will be introduced to “Lord Barrat”, Lord Edgar’s nephew. The banquet is elaborate and there’s dancing. The Baronin wants her ward Luise to marry Lord Barrat, so they are paired off. But there’s something odd about Lord Barrat. Unsuspecting, the guests imitate his crude, mechanical movements and aren’t even upset when he starts to play the trumpet, madly - Henze’s scoring of this part is savagely witty. Then, suddenly the Lord rips off his clothes, his hair and even his face. He’s an ape!

The libretto is by Ingeborg Bachmann, Henze’s closest friend and muse. Her writing is tight, terse, to the point. Henze follows her syntax closely: the combination of words and music precise.

The film supplies levels of detail which expand the narrative very well. For example, the young Lord, Lord Edgar’s Secretary - who does all the talking for him - and Wilhelm, the student Luise is in love with, all sport bizarre side-burns and have their hair dyed in psychedelic shades of orange. What has Lord Edgar been up to, and for how long? It’s implicit, not obvious, part of the tantalizing mystery that haunts the opera.

Yet again, Henze is subtle, leading us into the intrigue gently. The first Act is taken up with the conventional love affair between Luise and Wilhelm – stock lovers are typical plot devices in sentimental operetta. Unsuspecting audiences might be lulled as Henze’s writing, though very modern, isn’t “scary”. Luise and Wilhelm are to Der junge Lord what the cartoon lovers are in Mel Brooks’ Young Frankenstein a few years later. Even the Frankenstein connection isn’t far fetched as we see with the ape-turned-Lord.

Edith Mathis positively glows. She’s photogenic, the sort of person “cameras love”. Her singing is perfectly well judged, sweet but not sickly. She balances a bizarre helmet-like wig on her head which seems to have a life of its own – also a concept in keeping with the plot. Donald Grob’s Wilhelm is well prepared too, as is Barry McDaniel’s Secretary – a mix of malevolence and elegance, insidiously sung. The vignette roles are very strongly cast, too. Margarete Ast’s Baronin and the whole group of town officials, led by Manfred Röhrl, are excellent, and individual. Even poor Lord Barrat, who gets to sing only a few pathetic phrases, does so with an angelic high tenor almost as high as the boys in the children’s chorus.

This film is well made and enhances the audio experience sensitively. A pity that the colours seem faded, giving a dated look to what was once probably quite spectacular. Perhaps one day there’ll be a new version. This opera deserves it. There have been several acclaimed productions over the years so it’s time a new film was made. Until then, it’s good to have this DVD to supplement the audio.

-- Anne Ozorio, MusicWeb International
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Works on This Recording

1.
Der junge lord by Hans Werner Henze
Performer:  Loren Driscoll (Tenor), Donald Grobe (Tenor), Edith Mathis (Soprano),
Barry McDaniel (Baritone), Manfred Röhrl (Bass), Ivan Sardi (Bass),
Ernst Krukowski (Baritone), Helmut Krebs (Tenor), Vera Little (Alto)
Conductor:  Christoph von Dohnányi
Orchestra/Ensemble:  Schöneberg Boys Choir,  Berlin Deutsche Oper Chorus,  Berlin Deutsche Oper Orchestra
Period: 20th Century 
Written: 1964; Germany 
Date of Recording: 1968 
Venue:  Deutsche Oper Berlin 

Customer Reviews

Average Customer Review:  1 Customer Review )
 Perhaps the finest comic opera of the 20th Century March 30, 2012 By Stephen D. B. (Great Barrington, MA) See All My Reviews "Stunningly produced, visually and musically. Ingeborg Bachmann's libretto satirizing slavery to fashion and adulation of the 1% by the slightly-below 1%, in the shock ending they, and perhaps we, learn a terrible lesson which resonates in the USA today. Henze's music is simply great and unfailingly beautiful. With his unerring dramatic instinct, he keeps things exciting in a way which no musical comedy can beat. Produced by over 100 opera houses around the world, it has only been produced in the US a couple of times. The Met, of course, will never produce any Henze opera due to his liberal politics and compassion for the common man. A couple of wealthy brothers I know who would call Henze a Communist would happily approve of this impoverishment of the culture of the Big and yet sometimes so Little Apple." Report Abuse
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