Orff’s phenomenally
popular ‘scenic cantata’ is one of the
most recorded works in the repertoire,
with literally dozens of versions. The
accepted ‘league table’ includes many
great conductors, among them Jochum,
Previn, Muti, Ozawa, Ormandy, Dutoit
and Blomstedt and there is a strong
supplementary list that includes Hickox,
Mata, Slatkin, Thielemann and now Rattle.
As Telarc continue their re-issues of
Robert Shaw’s work from the 1970s and
1980s, it goes without saying that this
Carmina enters the most crowded
field imaginable.
I notice this version
had a slightly muted reception first
time round, at least in some critical
quarters. Listening to it now, and by
the side of selected competition, I
can see why, although there are certainly
things to enjoy. Shaw’s is one of the
quickest versions on disc, only beaten
by Jochum (57 minutes) and Dutoit (59
minutes). Personally, I like swiftish
speeds in this piece, so that the many
repetitions don’t become tedious. Also
it should, and in some cases does, produce
an extra tension and bite, especially
in most of the naggingly memorable choruses.
Alas, in Shaw’s version, many passages
seem underpowered, despite the fast
pulse. Take the famous opening, ‘O Fortuna’,
which boasts some characteristically
tight and disciplined choral singing,
but which seems earthbound and metrically
foursquare. And where is the great thwack
on the tam-tam towards the climax, so
clearly asked for by Orff (who marks
it ff) and so apparent on Jochum
and Muti’s versions? Given Telarc’s
typically wide-ranging sound, I expected
to be pinned back in my seat, but instead
sat there underwhelmed. Maybe it’s Shaw’s
decision not to vulgarise the work any
more than is necessary, and Lord knows,
we’ve all used this passage to demonstrate
hi-fi to our friends. Whatever the case,
it’s very tight and professional, but
just a tad ordinary.
Other passages fare
better. There is a great sense of abandon
and jollity in ‘Ecce gratum’, and a
thrilling climax to Part 2 ‘Were, diu
werlt alle min’. But again, the brass
do not blaze in ‘On the Lawn’ as they
do for Muti, and the boys are nowhere
near as suggestive in their ‘Oh, Oh,
Oh, I am bursting out all over’ as Previn
or Hickox’s boys, who leave us in no
doubt as to their feelings.
The soloists acquit
themselves well, considering the cruelly
high tessituras Orff writes for all
three. Hakan Hagegard went on to record
this again for Slatkin and Mata, and
invests all his solos with the right
mix of vulgarity and refinement. William
Brown is not as characterful as others
(notably Gerhard Stolze for Jochum)
in his famous ‘Roasted swan’ episode,
but Judith Blegen soars majestically
in ‘In trutina’ and is in ravishing
voice in ‘Stetit puella’.
All told, I hoped for
better things here. It’s ultimately
all a bit too po-faced and polite, even
though the choral singing is predictably
superb and the recording deep and refined.
The super-budget competition is exceptionally
fierce, with Muti, Hickox and Mata all
under a fiver and in equally good sound.
Telarc also continue their annoying
habit of banding the disc with a small
number of tracks (four here) and lots
of index points, which none of my three
players can access individually. So
maybe this is really only for fans of
the conductor or label.
Tony Haywood
Atlanta Symphony Chorus and Orchestra/Robert Shaw
