During the 19th
century national styles took on an increasing
significance in opera. Historical subjects,
peasant dances and folk tunes were all
means of conveying a distinctive attitude.
In Hungary Ferenc Erkel became a leading
composer in this respect. He made his
reputation by 1840, largely thanks to
the immediate success in Pest of his
opera Bátoria Maria. This encouraged
him to concentrate his career on music
for the stage, and he confirmed his
position in national cultural life with
Hunyadi László (Pest,
1844), of which Franz Liszt became a
particular admirer.
As the years passed,
so Erkel developed his skills in setting
Hungarian texts musically. For example,
his flexible treatment of recitative
and arioso remains as fresh for today’s
listener as it must have been for his
contemporaries. Like so many opera composers,
he continually searched for suitable
librettos, in an effort to create what
he described as a ‘people’s theatre’,
with dance and vocal numbers making
a direct impact.
His best known opera,
however, is darker and tragic in tone.
This is Bánk Bán, first
performed at Pest in 1861. It was heard
in London only seven years later. The
nationalist-historical subject invites
this approach: the 13th century
Hungarian revolt against a ruling foreign
court. This was of course a potent point
of reference in the context of the Austro-Hungarian
Empire of the 1860s. Based on a well-known
play by Jószef Katona. The opera’s
libretto was completed before 1851 by
Béni Egressy (we know this because
he died that year), and Erkel then worked
at the project through the next decade.
Erkel’s music stands
up well to the test of time. Melodically
rich and rhythmically vital, it also
shows the way that his confidence as
an opera composer had brought assurance
in the use of ensembles and in characterisation.
The latter in particular is a strength
that is only achieved by the most talented
composers, and Erkel certainly emerges
in that category, even though his operas
have not secured a place in the international
repertory.
Furthermore, the orchestral
writing is immensely characterful and
assured, whether dominating the scene
as in the various attractive dance numbers,
or in helping create the atmosphere
surrounding the drama or the characterisation
of individuals.
While the drama emerges
as rather far-fetched, there is a certain
intensity and dramatic flow that results
from Erkel’s music. The style is not
necessarily national all the time, and
the influence of Verdi seems to be present
in both the musical organisation and
the response to dramatic situation.
As a man of the theatre Erkel would
have known that masters works well.
With good sound captured
in the reliable Phoenix Studio acoustic,
this Hungarian performance from 2001,
linked to a film project, does justice
to Erkel’s vision. In any case it is
hardly likely that another will come
along soon and displace it. It is certainly
an improvement on its Hungaroton predecessor,
which was only fitfully available on
the international market.
A strength of the performance
is the conducting of Tamás Pál,
who keeps the music moving along and
has an excellent understanding of the
ebb and flow of operatic drama. Among
the native cast, Eva Marton is the singer
who has made the most famous name for
herself, though in truth she is probably
past her vocal best now. She sings with
full commitment and beautifully controlled
tone, while as her husband the King,
Kolos Kováts is in fine voice
too. Atilla Kiss makes a striking impression
in the title role of Bánk Bán,
the Viceroy of Hungary around whom the
drama rotates, and the lesser roles
are all ably taken.
The documentation is
full and well produced, though the employment
of an English editor, or at least proof-reader,
would surely have eradicated the frustrating
occasional mistakes of translation,
extending to the name of the singer
in the title role.
Terry Barfoot
Orchestra of the Hungarian Millennium/Támás
Pál 