It’s probably best not to get your hopes
up. The name to inspire is Giulini’s
of course and with Inge Borkh in the
cast we can be assured of some fireworks.
But before you do start reaching for
your wallet be aware of some very significant
technical and executant flaws in the
performance. The sound, for a start.
It’s pretty poor for its time, boxy
and unattractive. Some bizarre orchestral
perspectives are audible, with vastly
over-prominent percussion, and there’s
a lot of enshrined stage shuffling of
a heavy-booted kind. Then there’s the
orchestra and boy, what a band they
were. It’s true that they improve as
things develop but they could hardly
get much worse – and the overture shows
them in all their glory; ropey strings,
unblended and unbalanced, sloppy winds,
and a general state of mild panic throughout.
Giulini can’t stem the Canute-like onrush,
though the audience respond as if Italy
had just won the World Cup. Amazing.
The chorus is indistinct
in Dem Frieden Heil – which could
be an advantage as they’re not impressive
– so the weight of interest falls heavily
on some of the principal singers. Borkh
is the star; penetrating, powerful,
commanding and truly characterful in
So Einsam bagend in Act I, and
revealing exemplary stagecraft in Act
III’s Ich kann nicht weiter. The
pity is that she’s not present more
often, though we do have Hertha Wilfert
as Euryanthe. Wilfert has a strong presence
and a powerful voice though it’s inclined
to be a bit plummy and weak in the middle
and not always firmly centred – as Glöcklein
in Tale shows. In her more strenuous
moments she can also be a touch squally
(Act III – Lasst mich hier).
As Adolar Howard Vandenburg is rather
uneven and blustery but leaves a reasonably
strong impression; his voice isn’t opulent
but it’s more than serviceable and he
seizes his chances in Unter blüh
and in Wehen mir (Act
II) well enough. Karl Kamann as Lysiart
has a certain earthy vigour about him
and I enjoyed his engaging presence.
But all told this is
a disappointment. The cast is not a
particular weakness but the orchestra
is and Giulini’s inability to control
its waywardness is symptomatic. The
recording quality is a final nail in
the coffin. No notes or information,
as usual with this company, so this
is one for Giulini completists only.
Jonathan Woolf
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Choir and Orchestra of the Maggio Musicale Fiorentino/Carlo
Maria Giulini 
