These recordings won a good many friends
for mid-period Stravinsky in their LP
form (as well as a Grand Prix du
Disque and an Orphée d’Or
in the case of Oedipus).
They are now brought together to make
an ideal coupling of this composer’s
two greatest neo-classical choral works.
Such criticism as has been directed
at the performances has regarded the
degree of vibrato habitually practised
by Czech singers and wind-players. As
far as the chorus and orchestra are
concerned, to my ears this creates an
impression of passionate fervour which,
far from romanticising the music, only
adds to the sense of a remote ritual
being enacted. However, if you think
this could be a problem, hear the first
choral entry ( track 1 from 1’ 13")
of Oedipus. A clear and spacious recording
prevents any muddiness which can result
from choral vibrato, and so above all
does Ančerl’s
careful balancing of the textures.
Of
the soloists, Žídek’s ringingly secure
Oedipus deserves nothing but praise
(track 1 from 4’55”), and the Creon,
Messenger and Shepherd are also excellent.
There is a slight (only slight) suspicion
that Eduard Haken’s vibrato is
disguising some not quite perfect intonation,
while more reservations may be felt
over Vera Soukupová’s Jocasta.
Her rich mezzo tones are impressive,
but the voice is a bit unwieldy for
the job in hand, a fact exacerbated
by the degree of scooping between notes
she permits herself (track 2 from 1’
11").
The speaking role uses
Cocteau’s original French; for English-speaking
listeners this could be a reason for
preferring a version with an English
spoken text, especially when we get
the libretto in the original languages
(including Stravinsky’s quaint Latin
with Ks replacing Cs to ensure the hard
pronunciation he wanted) but without
translation.
However these are small
points. The real hero of the disc is
the conductor, who understands perfectly
the sense of ancient, mysterious rites
that lies at the root of both works.
Stravinsky’s neo-classicism may have
seemed a startling departure at the
time but today we are more likely to
note the consistency with which the
composer of The Rite of Spring is
present in everything he wrote. It takes
time for performers to catch up with
composers. When these interpretations
appeared their rivals were mostly recordings
under conductors of Stravinsky’s own
generation who had come to terms
with and learnt to conduct a new type
of music. Their efforts (I am thinking
of Ansermet, for example) can seem a
little plodding and cautious compared
with younger artists who have taken
the music in their stride. So it says
a lot for Ančerl’s scrupulous
preparation and innate understanding
of the music that these performances
yield nothing to the many that have
followed and are still prime recommendations.
Christopher Howell
see also review
by Rob Barnett
Prague Philharmonic Choir 