This ‘explanation’
is very much a curate’s egg. In parts
it is extraordinarily good and in others
it leaves a great deal to be desired.
The presentation is in two parts: the
CD and a slim booklet. The latter, in
three parts, overviews opera in four
paragraphs; this particular opera in
six and provides a seriously brief synopsis.
The inevitable consequences of overview
are generalisations some of which seem
questionable: "…opera perhaps reached
its highest achievement with the mighty
music dramas of Richard Wagner"; and
of Italian opera "…there was a golden
age, called the bel canto...".
Really? Are those twenty-first, twentieth
or nineteenth century opinions?
Much, but not all,
of the booklet commentary and synopsis
is repeated on the CD: respectfully
it might have been preferable to let
the CD stand alone. Here again the curate’s
egg is laid. Continuing the thought
of opera in its historical context,
track 3 puts Dr. Bartolo’s music lesson
and imitation castrato in historical
context. Simply and superbly explained.
However, when dealing with the biological
aspects of castrati, the narrative descends
into the ‘nudge-nudge wink-wink’ schoolboy
humour with ‘could they, you know, did
they’ question delivered with almost
a prurient tone which I found inappropriate.
As an example of inconsistency,
the background introduction (track 1)
says of Orfeo, looking back at Euridice
when leaving Hades, that he "…succumbed
to the temptation to check on Euridice."
No. He was driven to it: a point almost
made clear in track 14 when dealing
with this after Euridice’s protestations,
"either as a result or perhaps in spite
of this tirade, Orfeo succumbs". What
is not made clear here is that the plot
sets Orfeo two tests or trials: bravery
and obedience. The former he passes
by overcoming the Furies; the latter
he fails. The god/human comparison is
relevant. What loving husband whose
wife cries piteously for help would
not look at her.
The thumbnail sketch
of Gluck’s career is helpful and to
the point – save for the comment about
the musical production school of "authenticity
of sound – whatever that may be". A
curious comment because a few sentences
later it is stated that this recording
"…tends towards… the school of authenticity…"
which is going to be a bit difficult
if you do not know what that phrase
means.
I am sorry to say that
the Naxos recording of the opera is
not my favourite. I have reservations
about the beauty of tone of Ann-Christine
Biel and serious doubts about the chorus
particularly as Furies which do not
sound it. Whilst relevant to an understanding
of the opera this is not fundamental
to an explanation.
An appoggiatura (grace/leaning
note) is explained concisely and clearly
on the penultimate track and exemplified
well. But why there? Would it not have
been preferable to refer to this in
the first scene (track 6), which drips
with them, to enable the listener to
identify them early and then to follow
their importance as a musical feature
throughout the opera.
There are frequent
comments before, after and during the
musical extracts played on tracks 5-16.
Most are to the point. Much more could
have been included if so long had not
been spent on the background.
I am far from sure
that 20 minutes on the background is
justified. If you have a fascination
for the facts relating to castrati,
then enjoy it – but do remember, as
the narrative makes clear, they were
not around just for this opera. The
essential 5 minutes or so of explanation
of this opera which is included in the
background, could have been better interwoven
into the operatic extracts. Then there
would have been more time for musical
analysis with perhaps reference to the
important keys and the music / action
relationship. That may be beyond an
"explanation" and entering the realm
of analysis: a neat blurred edge upon
which thought I leave you - save for
a caveat.
It is only right that
I should draw the attention of the reader
to a contrary views to my own on this
web site – see the review by Robert
Farr and Em
Marshall
Robert McKechnie
Orfeo… Ann-Christine Biel (contralto) 