Gwyneth
Jones will be a very familiar name to Wagner fans for her extensive
performances of all the Wagner roles in opera houses throughout
the world. She has also been highly acclaimed for her renditions
of Strauss and Italian opera. As far as Wagner goes, though,
there is obviously a huge number of compilation CDs as well
as the full operas on disc, so some stiff competition here ...
The
collection opens with two episodes from Tannhäuser –
the Hall Aria from Act II and Elizabeth’s Prayer
from Act III. One is at once impressed by Dame Gwyneth’s rich,
heavy and mature voice but I was disappointed by some poor intonation
in places – she is, for example, rather flat only three minutes
into the track. I would recommend Birgit Nilsson’s version on
the Testament label (another compilation disc). Here, the Philharmonia
is conducted Leopold Ludwig and is faster, snappier, livelier,
and less wallowing and apathetic than Paternostro’s. Nilsson
is also beautifully in tune.
Elizabeth’s
Prayer is, unfortunately, rather
ear-splitting, at the outset at least. Jones is badly out of
tune at the very start of the song and scoops up to the notes
with painfully sliding swoops. She gets better as the piece
goes on, and captures the hushed atmosphere of the prayer well,
but I must admit to being rather on tenterhooks thenceforth,
dreading the next bout of bad intonation.
Elsa’s
Dream from Lohengrin follows, in which Dame Gwyneth has a beautifully
sweet and light tone. Intonation – if not perfect – is much
better. The orchestra here is particularly good, giving a wonderful
air of excitement. This aria is also included on the Nilsson
disc. Nilsson’s voice is more laboured and weighed down by grief
at the start of the dream, when speaking of her loneliness and
sorrow. The general feel is more quiet, sensitive and introspective.
One
purely orchestral track features on the Chandos disc, namely
the prelude to Tristan and Isolde. Paternostro takes
it at a very leisurely and unrushed pace, a little too slow,
I felt, and consequently lacking drive and propulsion. I deeply
missed the heady rush and sense of deep intoxication that I
am usually bowled over with (who needs alcohol!?) during this
prelude, but which was glaringly absent in this version. Yet
the orchestra is lush and romantic, the string playing, in particular,
gorgeously rich - staying just this side of slushy. Better versions?
Well, comparing it to others was rather telling. From the first
note, the Wagner Orchestral Highlights Naxos disc with the Slovak Philharmonic conducted
by Michael Halasz was far more throbbing and poignant. The dramatic
pauses here were gratifyingly long enough - they’re not quite
there in Paternostro - and there are some lovely discreet touches
of portamento. Similarly, on the Phillips label where Karl
Böhm conducts the Bayreuther Festspiele (entire opera), it sounds
like an entirely different piece. Even more intense than the
Naxos version, this one is deeply stirring,
as it sobs and throbs, full of passion.
Isolde’s
so-called “Love Death” music, from the Finale of Act III of
Tristan, ensues. Dame Gwyneth’s rich, full, mature and
remarkably powerful voice suits this music, and she comes across
as pleasingly radiant, although intonation is still a little
dodgy in places. In contrast, Margaret Price on the recent Deutsche
Grammophon re-issue with Carlos Kleiber conducting the Staatskapelle
Dresden (full opera) is very hushed, particularly at the beginning.
Price has greater clarity of tone, and is lighter. Both singer
and orchestra make more of the climaxes, although the balance
is not as good as in Chandos disc, and the orchestra tends to
drown Price out. Birgit Nilsson on the Böhm Philips disc is
much darker, richer, and more laboured than both Price and Jones.
The
Chandos disc concludes with Brünnhilde’s famous immolation scene
from Götterdämmerung. Although, once again, I was slightly
concerned about Jones’ intonation, her heavy rich tone is perfect
for Brünnhilde. It is a brilliant ending to the disc - suitably
wild and impassioned, and with the orchestra really going hell
for leather. It is extremely interesting to compare this to
her performance of this role at Bayreuth
just under ten years earlier – a live recording on Philips,
with Pierre Boulez conducting the Orchester der Bayreuth Festspiele.
On the live recording she is far more sensitive and commanding,
creating a darker, blacker and more powerful sound, with fine
intonation – she seems to get into the role far better and is
incredibly persuasive and effective as Brünnhilde. I still admire
Anne Evans’ version of this, too – available on a variety of
discs including ASV’s Highlights from The Ring, or on
a Götterdämmerung highlights disc on ‘Opera Collection’
with Barenboim conducting the Bayreuth Festival Orchestra.
It
is undoubted that Dame Gwyneth Jones is one of the finest Wagnerian
sopranos of her time, so I was deeply disappointed with this
disc – especially on comparing the final track to her Bayreuth
recording showing how exquisitely she is able to sing Wagnerian
roles. Perhaps the fact that she is no longer quite in her prime
has something to do with it, otherwise I would probably put
it down to being unable to step fully into character when singing
excerpts as opposed to entire operas. There does not particularly
appear to be a lack of rapport with the conductor and orchestra,
so I am otherwise at a loss to say why this disc is, as a whole,
a little spiritless and has bouts of such bad intonation. Whilst
I would personally always choose the full opera over a compilation
disc, there are plenty of other highlights and collections out
there if that’s what you’re after. These include Kirsten Flagstad
on the Références label and on the Gold Seal Vocal Series, Flagstad
and Nilsson on Decca’s Highlights disc with Solti conducting
the Vienna Philharmonic, Frida Leider on Preiser with Beecham
and the Covent Garden Opera, Jessye Norman with Tennstedt on
EMI’s Opera Scenes and Arias, and various Nilsson discs,
including the one mentioned above. All of these give excellent
performances. But if it’s Dame Gwyneth you’re after, go for
the full opera rather than this compilation disc.
Em Marshall
Dame Gwyneth Jones (sop)
