Some years ago I reviewed two issues in the Simon Mayr Naxos
series. Maybe I should exclude the definite article - Mayr’s
oeuvre is so large that there can be no hope of a ‘complete
works’ edition. However, what I have heard so far has
been very attractive. I refer readers to my previous reviews
here
and here.
I may add that several of my colleagues also have shown great
enthusiasm about other Mayr issues from Naxos.
The present work, the oratorio Samuele, was written for
the appointment of the new bishop Pietro Mola in Bergamo in
the spring of 1821. On 8 April the bishop’s consecration
took place in Milan cathedral. On 12 May Mola arrived in Bergamo.
On 2 June Samuele was performed in the great hall of
the Congregazione della Carità MIA during a concert by
pupils of the Lezioni caritatevoli. The main source for
the text is the first Book of Samuel but there are many
references to other parts of the Bible as well as non-Biblical
sources. The most original scene, musically speaking, is the
melodramma in the second part, scene 5 (CD 2 tr. 13)
with speech instead of singing. This concerns Samuel’s
prophecy and the justification for speech instead of song is
that this is the word of God and it has to be expressed differently
than the words of the people.
Samuele is a fairly late composition. Mayr was approaching
sixty but he had another twenty-four years to live, so he reached
an age attained by very few of his contemporaries. The music
is rooted in Classicism and is alternately idyllic - the chorus
that rounds off Part I (CD 1 tr. 8) could be something from
Haydn’s The Seasons - and dramatic - the chorusAh!
qual fragor! in Scene 5 (CD 2 tr. 17). It is also very melodious.
Take, for example, Samuele’s Preghiera, also in
Scene 5 (CD 2 tr. 11). As in other Mayr works instrumental solos
are quite frequent, a clarinet solo in the long duet in scene
1 (CD 1 tr. 3) is just one instance. The orchestral playing
is superb - the Georgian Chamber Orchestra retains its position
as one of the leading chamber ensembles in Europe. The Simon
Mayr Choir, founded by Franz Hauk in 2003, also evinces high
level skills.
The four main soloists are also very good. Andrea Lauren Brown
in the title role begins a little hesitantly with squally tone
but she improves quickly. When she reaches the aforementioned
Preghiera she is in wonderful shape. Her dramatic singing
is also splendid. Susanne Bernhard as Anna is even better, equipped
with a superb, extremely beautiful voice. Just listen to her
in the recitative preceding the duet in Scene 1 and her joyous
and dramatic aria with chorus a little later in the same scene
(CD 1 tr. 5). Rainer Trost, the best known of the soloists,
has been around for quite some time - he was a very good Camille
in Gardiner’s Die lustige Witwe almost twenty years
ago. He has retained both beauty of tone and elegance of phrasing.
Jens Hamann’s well-schooled lyrical bass is adroitly suited
to Eli’s role. He sings the aria Esser degli esseri
(CD 2 tr. 2) with beguiling tone and plenty of nuance.
Those who have not yet been in contact with Simon Mayr’s
music could do much worse than start here; those who already
have probably won’t need any persuasion. This is a valuable
addition to the growing catalogue of Mayr’s works.
Göran Forsling
see also review by Raymond
Walker (August 2012 Recording of the Month)
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Andrea Lauren Brown (soprano) - Samuele; Susanne Bernhard (soprano)
- Anna; Rainer Trost (tenor) - Elcana; Jens Hamann (bass) - Eli
