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Schoenberg: Gurrelieder - RSO Berlin, Chailly (EAC flac) torrent

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Download Schoenberg: Gurrelieder - RSO Berlin, Chailly (EAC flac) torrent

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Torrent Description

CD 1: Erster Teil.
CD 2: Zweiter Teil; Dritter Teil.

Waldemar: Siegfried Jerusalem
Tove: Susan Dunn
Waldtaube: Brigitte Fassbaender
Bauer: Hermann Becht
Klaus-Narr: Peter Haage
Sprecher: Hans-Hotter
Chor der St. Hedwigs-Kathedrale, Berlin
Chorus Master: Roland Bader
Städtischer Musikverein zu Düsseldorf
Chorus Master: Hartmut Schmidt

Reviewed: Gramophone 3/1991, Michael Oliver
Since Ozawa's Philips account of Gurrelieder has reigned supreme for over a decade (although released in CD on 1985 it was recorded in 1979), collecting in that time both a Gramophone Award and a Grand Prix du Disque, I was expecting to have to ransack my vocabulary of cautious adverbs (''slightly'', ''marginally'', ''fractionally'') in order to compare it with the newcomer. In fact there was no need. In almost every respect I find Chailly's version preferable (often by a slight or marginal fraction, it is true, but a lot of fractions add up to a respectable whole number). The Decca version is ampler and still more beautiful of sound, Chailly's direction is even more whole-heartedly romantic than Ozawa's, and yet has such lucid clarity and incisive attack that no one could accuse it of over-indulgence. With a single (if qualified) exception I find Chailly's soloists and chorus preferable too, and his dramatic pacing is more urgent and more sure than Ozawa's. Curiously enough the notes accompanying this recording say that it was made in 1985; why on earth have Decca been keeping it to themselves for so long?
Between Jerusalem and Ozawa's James McCracken there is really no contest. The latter is gruffly baritonal, tends to yelp under pressure and sings reliably but seldom quietly, whereas Jerusalem has the virtues both of a lyric and a dramatic tenor: a beautifully sustained line, coloured by sensitive care for words, but with the ability to open out to an impressive vehemence where needed. His bitter denunciation of God's tyranny (''Lord God, I too am a ruler'') has pride as well as anger to it, and when did you last hear half-voice or even head-voice effects from this sort of tenor? I haven't heard the role of Waldemar better sung.
Susan Dunn and Ozawa's Jessye Norman (the qualified exception I mentioned above) are more difficult to compare. I feel instinctively that Dunn's purer, cooler voice is more right for the role of Tove than Norman's mezzo-like opulence, despite a couple of awkward corners (she scoops through a difficult interval in her third song) but Norman's ample richness, her vibrancy and sheer presence are undeniably more exciting, and Philips's recording highlights her most glamorously. But Becht as the Peasant and Haage as Klaus-Narr (a vehemently dramatic Alberich and an incisively flexible character-tenor respectively) are both preferable to Ozawa's rather under-cast equivalents, while Fassbaender is an urgently expressive Wood Dove, communicating the tidings of Tove's death with bitter plangency. Ozawa's Wood Dove, Tatiana Troyanos, sings very beautifully but with a more subdued gravity and less vivid colour.
Hans Hotter doesn't astonish you, as he did in the earlier years of his 'retirement', by breaking from speech into full-throated song during his long narration of the Wild Hunt of the Summer Wind (though he pitches his final cry of ''Wonne!'' with grandiloquent splendour) but he projects his lines grippingly and most musically throughout, making Ozawa's Werner Klemperer (who is in this case rather recessed into the orchestra) seem small-scaled and tremulous by comparison. The German choirs are not only better placed than Ozawa's Tanglewood Festival Chorus (who are disappointingly backward), they are ampler of tone and make much more vehement use of their words. Some of the moments in which I find Ozawa's direction less crisply detailed than Chailly's may be due to Philips's live recording which, fine though it is, subjugates the orchestra to the soloists unduly. They are also rather forward in the 'new' Decca version, but within a much more palpable space, allowing one to focus on instrumental details. Together with Chailly's alertness (my listening notes hardly ever remark that he is faster in this or that section than Ozawa, yet he is the swifter by ten minutes overall) this makes for a Gurrelieder which is much more of a drama, much less of a distended song-cycle than usual.'

CDImages, Flac8. cue sheets, complete booklet.
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Download Schoenberg: Gurrelieder - RSO Berlin, Chailly (EAC flac) torrent

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