Beethoven: The Ninth Symphony

Bejart Ballet Lausanne & The Tokyo Ballet, Israel Philharmonic Orchestra, Zubin Mehta

EUROARTS 2060878

The idea behind this approach is unproblematic as many orchestral works have been turned into highly successful ballets. Macmillan’s Das Lied von der Erde is a good case in point. Unfortunately Bejart’s approach is unconvincing and often lacklustre. The movement appears to have little to do with the score and is frequently at odds with it. This might matter less of the musical side was outstanding but there is too often a sense that Zubin Mehta is holding himself back for the dancers rather than leading the score.

The DVD opens with a lengthy percussion improvisation which seems equally distant from the Beethoven. It may all have made more sense live but conveys very little on the small screen.

Puccini: Turandot

Teatro Carlo Felice, Donato Renzetti

DYNAMIC 33764

With the exception of occasional rather raw edges which may m simply be the result of a live performance this is well sung throughout. Mario Malagnini’s Calaf gets stronger as he goes on and Roberta Canzian’s Liu becomes more mellifluous in the final act. Smaller parts are well sung and vocally characterised. There is a steely edge to Daniela Dessi’s Princess which is in character if a little uncomfortable at times.

The real problem is the production by Giuliano Montaldo which is old-fashioned and dull. It has no understanding of choral movement, with the singers lined up in blocks either side and allowed to emote at will. To compensate, a group of dancers frequently bound onto the stage to fill the space left by the retreating chorus. Added to this the acting is often perfunctory with a propensity for ending an aria down stage centre to milk the applause. I thought we were well past this stage now but it appears I was wrong.

Weber: Der Freischutz

Staatskapelle Dresden, Christian Thielemann

UNITEL CLASSICA 733108

This is a well-focused if very dark rendition of the work, often violent though never excessively so. As often these days there is no attempt to use the dance music for dancing – the act one scene becomes a nasty fight between neighbours.

However the narrative in Axel Kohler’s production is firmly kept in check and the characterisation is sensitive to the text and score. Michael Konig is a bluff Max, very much the outsider and is easily taken to the dark side. Sarah Jakubiak is a fine Agathe.

Most impressive is the conducting of Christian Thielemann who keeps the score on edge the whole time and makes us sense the latent horror even in moments of apparent calm. Where so many productions can drift too far from the original text, this re-interpretation is very convincing.

Rossini: Otello

Vlaanderen Opera, Alberto Zedda

DYNAMIC CDS 7711/1-3

This is a case where I would happily have had the DVD rather than the CD. For those of us who know Verdi’s Otello well it can come as something of a shock to find Rossini’s version so far adrift from Shakespeare both in terms of narrative and emotional intensity. While well sung I found it difficult to engage with the work as a whole, and, looking at the productions photographs, feel I could have benefitted greatly from seeing the action as well as hearing it. Alberto Zedda keeps things moving well from the pit but does little to engage us with the changes inherent in Rossini’s score.

Mendelssohn in Birmingham Vol 4

Jennifer Pike, violin, City of Birmingham Symphony Orchestra, Edward Gardner

CHANDOS CHSA 5161

A happy combination of popular works – the violin concerto and the full incidental music to A Midsummer Night’s Dream. Both are finely played and I particularly enjoyed the approach to the Dream. The work can so easily seem hackneyed with over hearing but here is light, immediate and engaging. While there are many versions available this must go very high up the list from the start.

Mendelssohn: String Symphonies Vol 1

L’Orfeo Barockorchester, Michi Gaigg

CPO 777 942-2

A noted above these are familiar works but the new recording is fresh and amiable throughout. However the use of a baroque orchestra – with a closer reliance on an original sound – does give this an extra layer of interest.

More recordings to follow