Pavarotti &Levine in Recital by Luciano Pavarotti; James Levine; Brian LargeReview by: Charles CroissantNotes, Second Series, Vol. 50, No. 1 (Sep., 1993), pp. 238-239Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/898762 .

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NOTES, September 1993 NOTES, September 1993 NOTES, September 1993

in Lugano, Switzerland and publicly re- leased here for the first time. This is music- making of a very high order. The record- ing quality is excellent, with a very full, natural piano sound. The video direction is well done, and includes many close-ups of Ashkenazy's hands, fascinatingto watch in action. This video is worth acquiring for the sake of these Beethoven performances alone.

Gustav Mahler. Symphony no. 6. Leon- ard Bernstein, conductor. Wiener Phil- harmoniker. A Unitel production for television broadcast, recorded during performance in the Grosser Saal of the Musikverein, Vienna, in October 1976. Deutsche Grammophon 072 226-1 (Laserdisc: 1 disc, 2 sides. 84 min.) Sound quality: ADD. Also avail- able on VHS cassette, with the number 072 226-3.

This 1976 recording brings us the Vi- enna Philharmonic in its usual excellent form, and demonstrates Bernstein's emi- nence as an interpreter of Mahler. Each of the instrumental choirs produces beautiful sound; particularly impressive is the accu- racy of intonation, especially considering the extremes of range the composer re- quires. The videodisc is very generously in- dexed. Each tempo change is provided with an index point, and each index point is cross-referenced on the container to the measure number in the score and the page number in the Universal critical edition. Such indexing will certainly enhance the usefulness of this recording in the music classroom.

One can surely have as sublime an ex- perience of concert music by listening to a recording that is "merely" audio, but the visual element can add something, espe- cially when it means watching such an in- teresting personality as Bernstein on the podium. Videorecordings of this type may well prove more immediately involving to the current young generation of music stu- dents, raised as they were in the television age. On the other hand, I found the fre- quent cross-cutting from one camera to an- other rather distracting; I would prefer re- maining in one perspective for longer

in Lugano, Switzerland and publicly re- leased here for the first time. This is music- making of a very high order. The record- ing quality is excellent, with a very full, natural piano sound. The video direction is well done, and includes many close-ups of Ashkenazy's hands, fascinatingto watch in action. This video is worth acquiring for the sake of these Beethoven performances alone.

Gustav Mahler. Symphony no. 6. Leon- ard Bernstein, conductor. Wiener Phil- harmoniker. A Unitel production for television broadcast, recorded during performance in the Grosser Saal of the Musikverein, Vienna, in October 1976. Deutsche Grammophon 072 226-1 (Laserdisc: 1 disc, 2 sides. 84 min.) Sound quality: ADD. Also avail- able on VHS cassette, with the number 072 226-3.

This 1976 recording brings us the Vi- enna Philharmonic in its usual excellent form, and demonstrates Bernstein's emi- nence as an interpreter of Mahler. Each of the instrumental choirs produces beautiful sound; particularly impressive is the accu- racy of intonation, especially considering the extremes of range the composer re- quires. The videodisc is very generously in- dexed. Each tempo change is provided with an index point, and each index point is cross-referenced on the container to the measure number in the score and the page number in the Universal critical edition. Such indexing will certainly enhance the usefulness of this recording in the music classroom.

One can surely have as sublime an ex- perience of concert music by listening to a recording that is "merely" audio, but the visual element can add something, espe- cially when it means watching such an in- teresting personality as Bernstein on the podium. Videorecordings of this type may well prove more immediately involving to the current young generation of music stu- dents, raised as they were in the television age. On the other hand, I found the fre- quent cross-cutting from one camera to an- other rather distracting; I would prefer re- maining in one perspective for longer

in Lugano, Switzerland and publicly re- leased here for the first time. This is music- making of a very high order. The record- ing quality is excellent, with a very full, natural piano sound. The video direction is well done, and includes many close-ups of Ashkenazy's hands, fascinatingto watch in action. This video is worth acquiring for the sake of these Beethoven performances alone.

Gustav Mahler. Symphony no. 6. Leon- ard Bernstein, conductor. Wiener Phil- harmoniker. A Unitel production for television broadcast, recorded during performance in the Grosser Saal of the Musikverein, Vienna, in October 1976. Deutsche Grammophon 072 226-1 (Laserdisc: 1 disc, 2 sides. 84 min.) Sound quality: ADD. Also avail- able on VHS cassette, with the number 072 226-3.

This 1976 recording brings us the Vi- enna Philharmonic in its usual excellent form, and demonstrates Bernstein's emi- nence as an interpreter of Mahler. Each of the instrumental choirs produces beautiful sound; particularly impressive is the accu- racy of intonation, especially considering the extremes of range the composer re- quires. The videodisc is very generously in- dexed. Each tempo change is provided with an index point, and each index point is cross-referenced on the container to the measure number in the score and the page number in the Universal critical edition. Such indexing will certainly enhance the usefulness of this recording in the music classroom.

One can surely have as sublime an ex- perience of concert music by listening to a recording that is "merely" audio, but the visual element can add something, espe- cially when it means watching such an in- teresting personality as Bernstein on the podium. Videorecordings of this type may well prove more immediately involving to the current young generation of music stu- dents, raised as they were in the television age. On the other hand, I found the fre- quent cross-cutting from one camera to an- other rather distracting; I would prefer re- maining in one perspective for longer

periods of time. Rather than so many shots of drumsticks striking the heads of timpani, or mallets hitting xylophones, I would have preferred more close-ups of Bernstein from the front. His face is fascinating to watch as he makes music, and this per- spective is certainly something the videore- cording has to offer over and above what we can experience in a concert hall. Also preferable would have been more wide- angle shots of the entire orchestra.

This is compelling music-making; the mad rush to the end of the first movement pulled me to the edge of my seat. The third movement is truly gorgeous: beautifully- paced, full of yearning, every nuance in place. One exciting close-up remains with me: seeing a percussionist raise and bring down an immense square-headed wooden hammer for one of the "strokes of fate" in the fourth movement.

Pavarotti & Levine in recital. Luciano Pavarotti, tenor; James Levine, piano. Brian Large, video director. Recorded during performance in 1988 at the New York Metropolitan Opera, for telecast in the "Live from the Met" se- ries. London 071 219-1 (Laserdisc: 1 disc, 2 sides; 72 min.). Sound quality: DDD. Also available on VHS cassette, with the number 071 219-3.

This video recording is one more at- tempt to cash in on the Pavarotti star phe- nomenon. Pavarotti is not a consistently convincing performer of art song, nor is the cavernous house at the Met the proper venue for a song recital. And this is pre- dominantly a song recital-of the twenty selections, only six are opera arias, fewer than one might have expected under the circumstances. Pavarotti begins by belting his way through Mozart's "Un aura amo- rosa" (Cosi fan tutte), with next to no regard for Mozartean phrasing or subtlety of line. He moves immediately to Rossini and re- mains thereafter with Italian composers (with whom he is visibly more comfortable); the one exception being Massenet's "Pour- quoi me reveiller" (Werther), in which he is again less convincing than in his Italian repertoire. He does demonstrate excellent sensibility and phrasing in Rossini's song

periods of time. Rather than so many shots of drumsticks striking the heads of timpani, or mallets hitting xylophones, I would have preferred more close-ups of Bernstein from the front. His face is fascinating to watch as he makes music, and this per- spective is certainly something the videore- cording has to offer over and above what we can experience in a concert hall. Also preferable would have been more wide- angle shots of the entire orchestra.

This is compelling music-making; the mad rush to the end of the first movement pulled me to the edge of my seat. The third movement is truly gorgeous: beautifully- paced, full of yearning, every nuance in place. One exciting close-up remains with me: seeing a percussionist raise and bring down an immense square-headed wooden hammer for one of the "strokes of fate" in the fourth movement.

Pavarotti & Levine in recital. Luciano Pavarotti, tenor; James Levine, piano. Brian Large, video director. Recorded during performance in 1988 at the New York Metropolitan Opera, for telecast in the "Live from the Met" se- ries. London 071 219-1 (Laserdisc: 1 disc, 2 sides; 72 min.). Sound quality: DDD. Also available on VHS cassette, with the number 071 219-3.

This video recording is one more at- tempt to cash in on the Pavarotti star phe- nomenon. Pavarotti is not a consistently convincing performer of art song, nor is the cavernous house at the Met the proper venue for a song recital. And this is pre- dominantly a song recital-of the twenty selections, only six are opera arias, fewer than one might have expected under the circumstances. Pavarotti begins by belting his way through Mozart's "Un aura amo- rosa" (Cosi fan tutte), with next to no regard for Mozartean phrasing or subtlety of line. He moves immediately to Rossini and re- mains thereafter with Italian composers (with whom he is visibly more comfortable); the one exception being Massenet's "Pour- quoi me reveiller" (Werther), in which he is again less convincing than in his Italian repertoire. He does demonstrate excellent sensibility and phrasing in Rossini's song

periods of time. Rather than so many shots of drumsticks striking the heads of timpani, or mallets hitting xylophones, I would have preferred more close-ups of Bernstein from the front. His face is fascinating to watch as he makes music, and this per- spective is certainly something the videore- cording has to offer over and above what we can experience in a concert hall. Also preferable would have been more wide- angle shots of the entire orchestra.

This is compelling music-making; the mad rush to the end of the first movement pulled me to the edge of my seat. The third movement is truly gorgeous: beautifully- paced, full of yearning, every nuance in place. One exciting close-up remains with me: seeing a percussionist raise and bring down an immense square-headed wooden hammer for one of the "strokes of fate" in the fourth movement.

Pavarotti & Levine in recital. Luciano Pavarotti, tenor; James Levine, piano. Brian Large, video director. Recorded during performance in 1988 at the New York Metropolitan Opera, for telecast in the "Live from the Met" se- ries. London 071 219-1 (Laserdisc: 1 disc, 2 sides; 72 min.). Sound quality: DDD. Also available on VHS cassette, with the number 071 219-3.

This video recording is one more at- tempt to cash in on the Pavarotti star phe- nomenon. Pavarotti is not a consistently convincing performer of art song, nor is the cavernous house at the Met the proper venue for a song recital. And this is pre- dominantly a song recital-of the twenty selections, only six are opera arias, fewer than one might have expected under the circumstances. Pavarotti begins by belting his way through Mozart's "Un aura amo- rosa" (Cosi fan tutte), with next to no regard for Mozartean phrasing or subtlety of line. He moves immediately to Rossini and re- mains thereafter with Italian composers (with whom he is visibly more comfortable); the one exception being Massenet's "Pour- quoi me reveiller" (Werther), in which he is again less convincing than in his Italian repertoire. He does demonstrate excellent sensibility and phrasing in Rossini's song

238 238 238

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Video Reviews Video Reviews

"La promessa," and is excellent as well in a set of songs by Bellini ("Dolente im- magine di Fille mia," "Malinconia, ninfa gentile," "Vanne, o rosa fortunata," "Bella Nice, che d'amore," "Ma rendi pur con- tento"). An interesting moment was pro- vided by three seldom performed Respighi songs ("Nevicata," "Pioggia," "Nebbie"). "Nebbie" is the best of the three; here he really succeeds in communicating the an- guish of the text. The official program ends with "Occhi di fata" by Denza; then come four encores, beginning with (surprise!) "Recondita armonia" from Tosca. Next are songs by Bellini ("Vaga luna") and Tosti ("Marechiare"). But Pavarotti knows what his audience has come to hear, and he gives it to them; the final encore is "Nessun dorma" (Turandot), and his "Vincero!" pre- dictably brings the house down. James Levine shows himself here to be a talented pianist and sensitive accompanist.

Gioacchino Rossini. La cambiale di matrimonio: farsa comica in un atto. Schwetzinger Festspiele, Kolner Oper, Stuttgart Radio Symphony Orchestra (Sinfonie-Orchester des Suddeutschen Rundfunks). Gianluigi Gelmetti, con- ductor; Michael Hampe, director. Janice Hall (Miss Fanny Mill), David Kuebler (Edward Milfort), Alberto Rinaldi (Slook), John Del Carlo (Sir Tobias Mill), Amelia Felle (Clarina), Carlos Feller (Norton). Sung in Italian. Recorded during performance at the Schwetzinger Festspiele, May 1989. Teldec Video 9031-71479-6 (Laser- disc: 1 disc, 2 sides, 86 min). Sound quality: ADD. With English subtitles.

Gioacchino Rossini. I1 signor Brus- chino: farsa giocosa in un atto. Schwetzinger Festspiele, Kolner Oper, Stuttgart Radio Symphony Orchestra (Sinfonie-Orchester des Suddeutschen Rundfunks). Gianluigi Gelmetti, con- ductor; Michael Hampe, director. Amelia Felle (Sofia), David Kuebler (Florville), Alessandro Corbelli (Gau- denzio), Alberto Rinaldi (Bruschino), Carlos Feller (Filiberto), Janice Hall

"La promessa," and is excellent as well in a set of songs by Bellini ("Dolente im- magine di Fille mia," "Malinconia, ninfa gentile," "Vanne, o rosa fortunata," "Bella Nice, che d'amore," "Ma rendi pur con- tento"). An interesting moment was pro- vided by three seldom performed Respighi songs ("Nevicata," "Pioggia," "Nebbie"). "Nebbie" is the best of the three; here he really succeeds in communicating the an- guish of the text. The official program ends with "Occhi di fata" by Denza; then come four encores, beginning with (surprise!) "Recondita armonia" from Tosca. Next are songs by Bellini ("Vaga luna") and Tosti ("Marechiare"). But Pavarotti knows what his audience has come to hear, and he gives it to them; the final encore is "Nessun dorma" (Turandot), and his "Vincero!" pre- dictably brings the house down. James Levine shows himself here to be a talented pianist and sensitive accompanist.

Gioacchino Rossini. La cambiale di matrimonio: farsa comica in un atto. Schwetzinger Festspiele, Kolner Oper, Stuttgart Radio Symphony Orchestra (Sinfonie-Orchester des Suddeutschen Rundfunks). Gianluigi Gelmetti, con- ductor; Michael Hampe, director. Janice Hall (Miss Fanny Mill), David Kuebler (Edward Milfort), Alberto Rinaldi (Slook), John Del Carlo (Sir Tobias Mill), Amelia Felle (Clarina), Carlos Feller (Norton). Sung in Italian. Recorded during performance at the Schwetzinger Festspiele, May 1989. Teldec Video 9031-71479-6 (Laser- disc: 1 disc, 2 sides, 86 min). Sound quality: ADD. With English subtitles.

Gioacchino Rossini. I1 signor Brus- chino: farsa giocosa in un atto. Schwetzinger Festspiele, Kolner Oper, Stuttgart Radio Symphony Orchestra (Sinfonie-Orchester des Suddeutschen Rundfunks). Gianluigi Gelmetti, con- ductor; Michael Hampe, director. Amelia Felle (Sofia), David Kuebler (Florville), Alessandro Corbelli (Gau- denzio), Alberto Rinaldi (Bruschino), Carlos Feller (Filiberto), Janice Hall

(Marianna). Sung in Italian. Recorded during performance at the Schwetz- inger Festspiele, May 1989. Teldec Video 9031-71482-6 (Laserdisc: 1 disc, 2 sides, 97 min.) Sound quality: ADD. With English subtitles.

These two works represent two-thirds of a trilogy of early Rossini operas produced at the Schwetzingen Festival; the third is La scala di seta, also available on videodisc. They are examples of the farsa, one-act comedies with a sentimental bent, often poking fun at the Establishment or at some unjust social custom (in this case, both op- eras take aim at patriarchal fathers intrigu- ing to marry their daughters to the highest bidder). They are amusing, if lightweight, pieces, though quite impressive when one considers that Rossini was scarcely more than eighteen at the time of their compo- sition (La cambiale was the first of his works to reach performance). The operas were recorded from onstage performances in the lovely Rococo theater of Schwetzingen palace, outside Stuttgart. The theater is a beautifully-sized venue for such works, and possesses a fine acoustic as well. The charm of these productions is materially increased by the presence of conductor Gianluigi Gelmetti. He is clearly a gifted Rossinian, and an absolute joy to watch during the playing of the overtures to both works; his obvious pleasure in the music is quite in- fectious.

The plot of La cambiale concerns Sir To- bias Mill, eccentric British magnate, and his attempts to marry off his daughter, Miss Fanny, to his Canadian trading partner, Slook (Alberto Rinaldi). Slook has set down for Sir Tobias a list of his requirements in a wife; Sir Tobias draws up a contract granting to Slook all rights over his daugh- ter. Naturally, Miss Fanny is already in love, with one Edward Milfort (David Kueb- ler), who is handsome but without pros- pects. Slook surprises the lovers, and has his heart softened by an impassioned aria, praising the joys of love, from Miss Fanny. He magnanimously alters the contract, signing his rights to Miss Fanny over to Edward, as well as making Edward his heir. Not politically correct perhaps, but full of cheerful if not particularly memorable mu- sic. The principals are accomplished actors as well as singers, and they give a stylish

(Marianna). Sung in Italian. Recorded during performance at the Schwetz- inger Festspiele, May 1989. Teldec Video 9031-71482-6 (Laserdisc: 1 disc, 2 sides, 97 min.) Sound quality: ADD. With English subtitles.

These two works represent two-thirds of a trilogy of early Rossini operas produced at the Schwetzingen Festival; the third is La scala di seta, also available on videodisc. They are examples of the farsa, one-act comedies with a sentimental bent, often poking fun at the Establishment or at some unjust social custom (in this case, both op- eras take aim at patriarchal fathers intrigu- ing to marry their daughters to the highest bidder). They are amusing, if lightweight, pieces, though quite impressive when one considers that Rossini was scarcely more than eighteen at the time of their compo- sition (La cambiale was the first of his works to reach performance). The operas were recorded from onstage performances in the lovely Rococo theater of Schwetzingen palace, outside Stuttgart. The theater is a beautifully-sized venue for such works, and possesses a fine acoustic as well. The charm of these productions is materially increased by the presence of conductor Gianluigi Gelmetti. He is clearly a gifted Rossinian, and an absolute joy to watch during the playing of the overtures to both works; his obvious pleasure in the music is quite in- fectious.

The plot of La cambiale concerns Sir To- bias Mill, eccentric British magnate, and his attempts to marry off his daughter, Miss Fanny, to his Canadian trading partner, Slook (Alberto Rinaldi). Slook has set down for Sir Tobias a list of his requirements in a wife; Sir Tobias draws up a contract granting to Slook all rights over his daugh- ter. Naturally, Miss Fanny is already in love, with one Edward Milfort (David Kueb- ler), who is handsome but without pros- pects. Slook surprises the lovers, and has his heart softened by an impassioned aria, praising the joys of love, from Miss Fanny. He magnanimously alters the contract, signing his rights to Miss Fanny over to Edward, as well as making Edward his heir. Not politically correct perhaps, but full of cheerful if not particularly memorable mu- sic. The principals are accomplished actors as well as singers, and they give a stylish

239 239

This content downloaded from 91.229.229.49 on Mon, 16 Jun 2014 02:39:43 AMAll use subject to JSTOR Terms and Conditions