Putting together
a CD of excerpts from the operas of Richard Wagner is tricky
at best. Finding an excerpt of both appropriate length and
consistent dramatic interest is a particular problem since in
Wagner’s later operas there is rarely a cadence that lends itself
to being “the end” of an excerpt; thus the need for a nearly
twenty-four minute excerpt of Parsifal. Also, there
are many instances when the tonal framework of a scene is not
in sync with the dramatic action of the opera. Those listeners
who have heard of Wagner’s philosophical concept of opera as
a “total art work” may wonder whether or not a CD of excerpts
from Wagner’s Music Dramas is not a decidedly “un-Wagnerian”
concept. To those devoted Wagnerites I would say, do not despair,
Leif Segerstam and the Royal Swedish Opera have put together
a beautifully executed program that will be equally enjoyable
for either the novice or the seasoned Wagnerian.
Wagner himself was
a well known publicity hound, and would likely have jumped at
the chance to reap the benefits of a CD such as this one. With
so many orchestral Wagner choices on the market, it is refreshing
to find a release that takes advantage of the consistently high
quality material that he wrote for chorus. It seems to me that
this is the perfect vehicle with which one could introduce a
friend or acquaintance to Wagner’s music. Each excerpt is musically
exciting, there is singing involved - which is not always the
case with CDs called “so-and-so without words” flooding the
market - and the performances are uniformly excellent.
The musical problem
of ending each excerpt is handled in a variety of ways, depending
on the dramatic situation, but always with good taste and what
seems to be an earnest concern for the integrity of the music.
For example, the end of the Sailor’s chorus from the Flying
Dutchman sounds as if the orchestra simply stops while in the
middle of a modulating passage (not on a tonic chord) leaving
the listener in suspense, much like the sailors who are waiting
for an answer from the Dutchman’s ship. In the final section
of the excerpt from Lohengrin, comes a classic Wagnerian
moment in which the orchestra ends a long cadential passage
with a chord other than the tonic. This allows a seamless transition
into the next dramatic situation. Maestro Segerstam substitutes
a tonic chord at the end of the passage to give the listener
the appropriate sense of finality for the excerpt.
Unfortunately, the
program notes offer no discussion of how or why certain musical
choices were made. The booklet begins with an essay titled
“Wagner and the Royal Swedish Opera” provided by Stefan Johansson,
the “Head of Dramaturgy at the Royal Swedish Opera”, in which
there is an account of the “Swedish Wagnerian tradition”. This
lines includes such legendary names as Birgit Nilsson, Torsten
Ralf, Set Svanholm, Kerstin Thorborg, Gösta Winbergh and many
others. Although this essay is well written and very informative,
it seems to have little to do with the specific contents of
the CD at hand. Of course if this was an historical release
including performances by any of the names mentioned in the
essay, it would be a welcome addition to the release. However,
as it stands, the essay reads more like a marketing gimmick
than a program note. After this, there are a number of shorter
items including basic background information and a plot synopsis
for each opera. This is ably provided by Gunilla Petersén, the
“Programme Editor at the Royal Swedish Opera”.
James Wintle
see also Review
by Robert J Farr
Soloists and Chorus of
the Royal Swedish Opera
