Schulhoff: Flammen testimonial|Andrew Clements’s timeless cd of the week

C zech-born Erwin Schulhoff passed away of consumption in a prisoner-of-war camp in Bavaria in 1942; he was 48. His only opera, Flammen (Fires), had actually been made up in between 1923 as well as 1929, as well as was initial carried out in Brno in 1932. Schulhoff’s songs was condemned as degenerate by the Nazis, as well as it was not up until the 1990s that Flammen was presented once again (in Leipzig), as well as likewise tape-recorded in Berlin under John Mauceri for Decca’s Entartete Musik collection. The Capriccio collection originates from a manufacturing in Vienna in 2006, which was tape-recorded by Austrian Radio.

Erwin Schulhoff: Flammen album cover.
Erwin Schulhoff: Flammen cd cover. Photo: Capriccio Records

Although it’s based upon the tale of , with a libretto by Karel Josef Beneš (as well as converted from Czech right into German by Kafka’s buddy as well as biographer Max Brod), Flammen is an unique reworking of the tale, intertwined with aspects of the tale of the straying Jew. There’s little feeling of straight narrative going through the 10 scenes, which portray as a haunted, permanently condemned number; 4 of his sufferers are sung by the exact same treble, while La Morte, the one ladies Juan did not attract, is his ever-present bane, with 6 women Tones functioning as Greek carolers.

Though the dramaturgy is often ancient, the series of Schulhoff’s rating is interesting. His songs is clearly diverse, with the expressionism of Berg (some flows resembling Wozzeck, others preparing for Lulu) along with clunkier minutes of Hindemith-style neoclassicism, as well as with periodic ventures right into jazz. As well as in spite of the invasive phase sound, it’s the dazzling instrumental songs that appears best in this efficiency under Bertrand de Billy— also if that’s often at the expenditure of the voices, which are not constantly as much onward as they could be.

The tone Raymond Very deals valiantly with the extremely requiring main duty of , Stephanie Friede sings the quartet of sufferers, as well as Iris Vermillion is incredibly engaging as La Morte. Vermillion took the exact same duty in the Decca recording of Flammen, which earlier, extra improved variation stays the one to listen to.

Today’s various other choice

BIS’s brand-new recording of Bartók’s Bluebeard’s Castle is based upon show efficiencies that Susanna Mälkki performed in Helsinki in January in 2015. Orchestrally it’s amazing; the Helsinki Philharmonic develops a sumptuously in-depth audio globe, which Mälkki concentrates precisely on each unraveling layer of the dramatization, as well as typically both lead characters, bass Mika Kares as Bluebeard as well as mezzo Szilvia Vörös as Judit, are exceptional. Possibly Kares is maybe a little bit also nice, as well as Vörös’ leading notes are a little bit perilous, however or else their efficiencies are absolutely persuading.