Recordings Review: Shiver Me Timbers

A Guide to The Flying Dutchman on disc.

by Paul J. Pelkonen

The Flying Dutchman prepares to battle the Silver Surfer.
Art by Jack Kirby from Silver Surfer Vol. 1 No. 8, © 1969 Marvel Comics

Wagner's first "hit" opera, Der Fliegende Höllander captures the imagination from its salt-soaked opening bars. A lot of conductors have committed the Dutchman to disc. Some of them opt for the harp-drenched "happy ending" version. Some break the score into three acts instead of playing it straight through with no intermission. Here's a quick buyer's guide for getting your own coal-black ship with ghostly, blood-red sails....

Re-stocking the Bare Shelves

A look at upcoming classical boxed sets.

"My cans. My precious, antique cans. Look what you've done to 'em."

Every Fall, the classical music industry releases a new flood of boxed sets and reissues into the warehouses of Amazon.com and its competitors. (This line used to read "into the record stores" but since there are very few left age their stock is limited, I decided to update it for this barren decade.)

In times of limited employment and deep economic strife, suggesting which classical/opera boxed sets to collect might be as futile as buying a subscription to the New York City Opera's 2011 fall season. But we're still going to do it anyway, because writing about good music is a light in dark days.

Here's some new and notable box sets. Some are recently released. Others are coming in the next few months:

Rafael Kubelik conducts Great Symphonies
Schumann Symphonies 1-4, Bruckner Symphony No. 3, 4, Mozart Nos. 35, 36, 38-41

Bavarian Radio Symphony Orchestra cond. Rafael Kubelik (RCA, 7 discs)
One of the great underrated conductors gets a reappraisal, thanks to the merger of Sony and RCA and a slew of accompanying reissues. Kubelik always had a unique take on major repertory, and he meshed perfectly with the Munich forces to produce gorgeous results. (Release Date: Sept. 6, 2011)


Schubert: Piano Sonatas and Impromptus, Andras Schiff, Piano (Decca, 9 discs)

This Hungarian pianist made these Schubert recordings in the 1990s. Crisp keyboard diction, beautiful digital sound and a sense of intimacy, especially in the beautifully played Impromptus. (Oct. 18, 2011)

Bruckner: Symphonies 0-9
Chicago Symphony Orchestra cond. Daniel Barenboim. (DG, 10 discs)

This set has been out of print for almost two decades, mostly because Daniel Barenboim decided to record a second Bruckner cycle with the Berlin Philharmonic. That set was released in the '90s on Teldec/Warner Brothers and is also currently available. This older, analog set made in the 1970s offers the conductor's fiery first take on these classic works and allows the listener to hear the early relationship between the young Barenboim and this great American orchestra. (Oct. 18, 2011)


EMI Sergiu Celibidache Edition Boxed Sets
Munich Philharmonic cond. Sergiu Celibidache (EMI Classics, Four boxed sets, 48 discs total.)

Four low-price boxed sets celebrate the "all-bootleg" recorded legacy of this idiosyncratic, but inspired Romanian conductor. Since Celibidache would not make studio recordings and openly disapproved of the process of making live recordings, he had to be recorded quietly, with everything released following his death.

The maverick Celibidache famously eschewed the recording studio, leading mystic, revelatory performances of major symphonic repertory. (Most of these recordings were made between 1982 and 1995, but not intended to be released.) Bruckner is the main attraction here, although this conductor applied his unique touch to Bach choral works, the Verdi Requiem and an astonishing range of repertory from Haydn and Mozart to Debussy, Bartok and Mussorgsky. (Oct. 25, 2011)


The Liszt Legacy: Benno Moisewitch, Alicia De Larrocha, Claudio Arrau, Raymond Lewenthal, Egon Petri, Piano (DG, 11 discs)
This year has seen a slew of Liszt boxed sets, from the scattershot anthologies of EMI and Sony to Hyperion's absolutely complete set of Leslie Howard's recordings, that weighs in at a hefty 99 discs. This ten-disc Liszt-a-thon celebrates the composer's bicentennial with rare and unreleased recordings of the composer's works from five great pianists. Many of these are previously unreleased.

The Chilean Claudio Arrau and the Spanish Alicia de Larrocha are the big names here, but the set is also notable for the inclusion of the underrated Benno Moisewitch as well as the more obscure Dutch-German pianist Egon Petri and the American-born Raymond Lewenthal.  (Nov. 15, 2011)

Bargain Basement Beethoven

Ludwig van Beethoven in 1805. Painting by Joseph Willibrord Mähler.
Collection of the Historisches Museum, Vienna, Austria.

In the mid-1990s, at the close of the CD boom, a flurry of complete cycles of Beethoven recordings were released, featuring smaller orchestras and so-called "original" instruments mimicking the technology of the 18th century.

Two of those are considered here.

The contenders:
Beethoven: The Nine Symphonies
Orchestre Révolutionaire et Romantique cond. John Eliot Gardiner (DG Archiv 1994, 5 CDs)
Chamber Orchestra of Europe cond. Nikolaus Harnoncourt (Teldec/Warner Brothers, Download)

These recordings feature John Eliot Gardiner's 60-piece Orchestre Revolutionaire et Romantique, a group assembled specifically to perform 18th and 19th century music with instruments that were contemperaneous to when these compositions were written.

The booklet cover for John Eliot Gardiner's Beethoven cycle.
© 1994 Universal Classics/DG Archiv 

Gardiner's players use authentic strings, which have a slightly rougher tone than modern instruments. The wind section features wooden transverse flutes, and finger-hole bassoons. Oboes and clarinets are shaped a little differently, and lack the complex key systems of modern instruments. Finally, a period orchestra uses copper kettledrums with goatskin heads, played with hard wooden drumsticks. The brass players use "natural" horns, where pitch is changed by removing a section of pipe (called a "crook") and replacing it with another.

The other difference between these recordings and "modern" sets by Herbert von Karajan or Claudio Abbado is the use of "metronome markings", the original tempo numbers specified by Beethoven on the scores of his later symphonies. Using these marks sometimes means that the works (particularly the Seventh and Eighth) hurtle along at a merry pace. The last movement of the Ninth is so fast that it's almost as long as the entire First Symphony.

The Teldec cycle was conducted by Nikolaus Harnoncourt, the Austrian period performance specialist and cellist who was a pioneer of the period instrument movement of the '70s and '80s. The set is different. Harnoncourt chose to blend instrumental styles, placing modern strings and winds next to 18th century brass and percussion. This is a contrivance, but it makes for a blend of sounds that makes this cycle unique.

The reissue cover for Nikolaus Harnoncourt's Beethoven cycle.

Harnoncourt's choice of tempo is sometimes idiosyncratic, and generally slower than Gardiner, by an average of about three minutes. (The "Eroica" is three minutes slower. In the Fifth, there is almost five minutes difference. Harnoncourt's opening movement of the Sixth Symphony (the Pastorale) clocks in at 13'22" with all of the repeats intact.

Gardiner's performance takes 11'13", and his whole performance is three and a half minutes faster than Harnoncourt's. The Ninth is even more radical in Gardiner's hands. But again, the difference totals three minutes, with the English conductor finishing first.

The Gardiner set is currently available as a 5-disc box, with the discs in envelopes for about $20. That's a hell of a discount, considering that the set retailed for about $60 when it was first released. The Harnoncourt is available on Amazon as a digital download: with the whole set for just $15.

Cosmic Oceans: A Buyer's Guide to Bruckner

Anton Bruckner appears on Austria's 1,000-schilling note.Start listening to the mighty symphonies of Anton Bruckner and you'll notice two things immediately. One: these are big slow moving works, infused with the composer's rapt religious convictions. They're practically church music. Two, given the massive size of their individual movements, you've now moved into what's considered the "deep end" of 19th century symphonic repertory.
Here's a swimmer's guide to the cosmic oceans of sound: Bruckner's symphonies.

Gunther Wand

The Günter Wand Cycle
This excellent set of the nine numbered symphonies (Wand leaves out the '00' and '0' works) is available in an old-fashioned "doorstop box" from RCA Red Seal. Wand had a long podium career, and became a Bruckner specialist later in his career. His Cologne-based orchestra is quite good, with above-average horns and woodwind. But the selling point here is the conductor's devotion to the absolute letter of Bruckner's scores. This set is a good starting point.

The George Tintner Naxos Cycle
Although he was battling cancer at the time, the late George Tintner made a landmark cycle of Bruckner symphonies. He coaxed great performances from a series of obscure orchestras. This super-budget set includes the, proving that you didn't have to have a big name to play great Bruckner. The set includes Symphony No. 0 (Die Nullte) and the even rarer Symphony No. 00, which Bruckner rejected as being a mere student work.

Royal Concertgebouw Orchestra
cond. by Bernard Haitink; cond. by Riccardo Chailly
Two excellent cycles from the great Dutch orchestra, each featuring a fine conductor. Haitink recorded complete cycles of most of the major symphonists. Under his baton, one hears the classic Concertgebouw sound, a certain mellow orchestral quality that is difficult to duplicate anywhere else. Chailly's set is in more modern digital sound, and showcases this great orchestra under more fiery leadership. His cycle also includes the best performance of "Die Nullte" on this list.

Sergiu Celibidache

Berlin Philharmonic
cond. by Eugen Jochum; cond. by Herbert von Karajan; cond. by Daniel Barenboim
The Berliners cement their reputation as one of the world's top orchestras with these three fine cycles. Jochum is brisk and no-nonsense. His cycle is like Wand's, close to the letter of the text and a sturdy presence in the CD catalogue for years. Karajan is very comfortable in this music and takes a relaxed Romantic approach. These Berlin recordings are better than his later "Karajan Gold" recordings with the Vienna Philharmonic.


The more recent Barenboim recordings (his second complete cycle of the symphonies--the first has been deleted) are the most idiosyncratic, with odd decisions in matters of tempo and dynamic. Still, the Berlin forces play their hearts out, and it is interesting to hear Barenboim puts his unique stamp on each symphony.

The Recordings of Sergiu Celibidache
Special mention must be made of this maverick Romanian conductor. Like Wand, Celibidache was a Bruckner specialist. However, unlike most conductors, Celibidache did not believe in making recordings. Luckily his family preserved tapes of radio broadcasts of some of his performances. These were released after his death in a series of issues on EMI and Deutsches Grammophon. These are not complete cycles, (Symphonies Nos. 1 and 2 are missing, and the DG set omits No. 6 as well) but the performances are moving and in most cases, super-slow. Not the best first performances to own, but these are favorites of Bruckner devotees.

Pyramid Scheme: The Aida Buyers Guide

Image © Rafael Olbinski

Aida is an opera that hits the wall whenever a studio recording was made. Verdi's Egyptian opera is at its most thrilling in a live performance. All of these sets offer considerable pleasure for the lover of Verdi's most spectacular opera.

Coro e Orchestra de La Scala cond. Tullio Serafin EMI 1951
Radames: Richard Tucker. Aida: Maria Callas
Mexico City Orquestra del Palacio de Bellas Artas cond. Oliviero de Fabritis EMI 1951
Radames: Mario del Monaco


Maria Callas recorded this opera twice in 1951. One set (black box) was made at La Scala with Tullio Serafin conducting, and Richard Tucker as her Radames. The other (blue box) has an inferior conductor and sketchy sound quality with the Oliviero de Fabritis occasionally audible from the podium. But it's worth it for fans of the hyper-masculine Mario del Monaco who sounds ready to invade Ethiopia, the Sudan and possibly climb Mount Kilamanjaro!

Callas only recorded this opera early in her career, so both sets are in monaural sound. She is in good voice, although she adds some sobs and mannerisms to the performance that seem to belong in another opera entirely. Neither is a first choice, but both are of interest for Callas fans and opera historians

Rome Opera Orchestra and Chorus cond. Jonel Perlea RCA 1955
Radames: Jussi Björling. Aida: Zinka Milanov.

An early studio Aida, featuring the wonderful pairing of Zinka Milanov and Jussi Björling as Aida and Radames. The mono sound doesn't have the same "wide-screen" effect as more modern recordings of this opera, and the transfer is marred by audible hiss (especially in the Grand Consecration scene.) However, the singing (especially Björling's stunning "Celeste Aida" and Milanov's "O Patria Mia" with that famous, floated final note) makes this a compelling entry.

But wait--there's more. The set features the late Leonard Warren as Amonasro and Boris Christoff as a wonderfully scary (if not very Italianate) Ramfis. Issued on RCA, this set is also available from Naxos as an import.

Vienna Philharmonic cond. Herbert von Karajan Decca 1959
Radames: Carlo Bergonzi. Aida: Renata Tebaldi.

This was the first stereo recording of Aida. It's still the best. Renata Tebaldi and Carlo Bergonzi are perfectly matched as the lovers. Karajan was at a peak with his Vienna forces, and although he recorded the opera again for EMI, that set was hurt by a cast which could not hold up against the orchestral assault of the Karajan Sound. Tebaldi is a marvelous Aida, singing with passion and intelligence. Bergonzi shows why he was one of the finest tenors of the 20th century.

This recording is a fascinating early example of Decca producer John Culshaw's "SonicStage" technique, with tiny aural enhancements added to create a virtual operatic experience.The tiny echoes when Radames and Aida are trapped in the tomb are chilling in their simplicity.

Coro e Orchestra de La Scala cond. Claudio Abbado Opera d'Oro 1972
Radames: Placido Domingo. Aida: Martina Arroyo.

If you must have Domingo as Radames (and he's pretty good!) the set to have is this this 1972 live recording opposite Martina Arroyo in the title role. Freed of the constraints of the studio, this is electric Verdi. The great tenor's voice was at an early peak, before it darkened. Claudio Abbado (whose 1981 studio set with Domingo and Katia Ricciarelli has its merits) demonstrates his sensitivity and skill as a Verdi conductor. Kick-ass.

Of the four (!) Domingo studio recordings of this opera, the ranking is: Abbado, Muti, Leinsdorf and Levine. The Muti set features Montserrat Caballe in the title role. Levine has a fine orchestra and chorus. The Leinsdorf recording has Leontyne Price.

Rome Opera Orchestra and Chorus cond. Sir Georg Solti Decca 1962
Radames: Jon Vickers. Aida: Leontyne Price.
Leontyne Price recorded the role of the Egyptian princess twice. This was her first version of the opera, recorded prior to her Met debut in the role. She is surrounded by a strong cast, featuring Jon Vickers, Rita Gorr and Robert Merrill as Amonasro. Georg Solti conducts the Triumphal Scene as if it were a Bruckner symphony, with trumpets squarely to the fore. This set is a strong alternate to the Karajan recording from 1959. However, the first issue of it was inflated to 3 CDs and marred by a poor digital mastering job.

Happily, when Decca decided to re-issue the set as a 2CD bargain pressing (with a break in the middle of the Triumphal March) they also remastered the tapes with 20-bit technology, restoring the swell of the orchestra and the bloom to Ms. Price's voice. In other words, don't buy the one with the fancy packaging and the white slip-case.

Image: Rafal Olbinski's poster art for Aida.
© Patinae Inc/Rafal Olbinski.