A Certain Dark-Eyed Beauty of Romany Extraction

My long relationship with Bizet's Carmen.
by Paul J. Pelkonen

My Carmen collection: (clockwise from upper left: Victoria de Los Angeles (not pictured), Marilyn Horne,
Agnes Baltsa, Christa Ludwig, Teresa Berganza, Tatiana Troyanos (not pictured), Jennifer Larmore.)
Photo by the author, screen cap taken from my iTunes.

Q: "What do you call two guys driving to the opera house?"

A: "Carmen."- -Mauri E. Pelkonen

I first met her when I was nine (maybe ten) years old, in my first year of going to the New York City Opera with my parents. A dusky, dark-haired bohémienne vixen with a rich mezzo-soprano voice (it was either Judith Forst or Susanne Marsee) that seductively sang in French, a language I knew little of. And yet, for that prepubescent kid sitting in the New York State Theater with his Mom and Dad (at his fourth opera!) Carmen was already something special. The show mixed spectacle, comedy and tragedy in a dizzying brew, laughing in the orchestra even as its characters hurtled toward disaster in the fourth act. And thanks to Dad's record collection, I already knew some of the music.

Transformative Alchemy: Beethoven's Sixth Symphony.

An analysis of the Pastorale Symphony.

by Paul J. Pelkonen

 Beethoven and Nature.
Detail from the painting by N.C. Wyeth.

What is program music? This is a question that musicians and music critics have been wrestling with (and generally losing the match) for 200 years. The debate started in 1808, the year that Ludwig van Beethoven premiered his Symphony No. 6 in F Major, the Pastorale. While it would be Hector Berlioz who created the first detailed program for a symphony 22 years later in his Symphonie-fantastique, Beethoven pointed the way forward by substituting movement titles for the usual tempo markings. 

Opera at Random: Pelléas et Mélisande

A walk in the dark woods with Claude Debussy.
by Paul J. Pelkonen

A scene from the (rather beautiful) Robert Wilson staging of
Pelléas et Mélisande from the Opera de Paris. Photo courtesy medici.tv.

Like the forests of Allemonde, Superconductor was dark for the last week as I rested, recharged and figured out what direction I want to take this blog in next. Today, I borrowed an idea from the composer John Cage: indeterminacy. Using the shuffle function on my old 160GB iPod Classic to decide which composer I'm writing about. And the winner is: Claude Debussy and his lone opera: Pelléas et Mélisande.

Recording Review: The Luxury Grail Package

The Herbert von Karajan Parsifal.
by Paul J. Pelkonen

King of the Grail: Peter Hofmann (center) takes over in the Herbert von Karajan recording
of Parsifal. Art © 1980 Deutsche Grammophon/UMG. 

The first notes of the Prelude seem to float out of the speakers: a rising figure for cellos and bassoons, later ornamented with shimmering strings and the lilt of harps. There are no coughs, no rustles of cloth, and when the orchestra stops, the silence is absolute. This is the opening of Herbert von Karajan's 1979-80  recording of Parsifal, Wagner's last opera. It could be argued that this Deutsche Grammophon release, which has enjoyed 35 years in the catalogue, is the finest of the Austrian conductor's nine studio recordings of the major Wagner operas.

Concert Review: The Celebrity Apprentice

Christoph Eschenbach conducts the New York Philharmonic.
by Paul J. Pelkonen

Christoph Eschenbach. Photo © 2016 IMG Artists.

Most reviewers see concerts, and especially those by the New York Philharmonic, on opening night. But there's something to be learned from going to the Tuesday night performance of a concert program. Would the musicians, having played a piece all weekend be on orchestral autopilot? Or will they add that extra grain of inspiration in their last collaboration of the season with a well-known guest conductor.

Recordings Review: This Guy in the House of Love

The 1963 Herbert von Karajan Tannhäuser on DG.
by Paul J. Pelkonen

Hans Beirer as Tannhäuser, Vienna, 1963.
Photo © 1998 Deutsche Grammophon/UMG/Archives of the Vienna State Opera.

In his five decades on the podium, the late Austrian conductor Herbert von Karajan committed nine of the ten "canon" Wagner operas to disc. He made studio recordings with Berlin, Vienna and Dresden, releasing these performances for EMI Classics (Tristan, Lohengrin, Dutchman, Meistersinger) and Deutsche Grammophon (Parsifal and the Ring.) The missing opera was Tannh äuser, a work which eludes any sort of definitive set-in-stone interpretation. In 1998, this recording was finally released on DG. If you can find an import copy of this recording, you can finally hear Karajan's take on Wagner's most problematic mature work.

The Once and Future Conductor

Berlin Philharmonic elects first zombie music director.
by Paul J. Pelkonen

The Berlin Philharmonic's once and future music director Herbert von Karajan.
Original image © Deutsche Grammophon, altered with MakeMeZombie.Com

The Berlin Philharmonic, seeking a replacement for outgoing music director Sir Simon Rattle has elected the animated cadaver of Herbert von Karajan to lead the orchestra into the 21st century. Mr. von Karajan, who died in 1989, is the first undead music director of a major symphony orchestra and the first Berlin music director to resume his post.

Superconductor 2011 Gift Guide Part III: Beethoven for the Holidays

Despite the image, there are no dogs in this page of all-Beethoven recommendations.
Let's call this an unsolicited ad for this direct-to-video sequel starring Curtis "Booger" Armstrong.
Image © 2011 Universal Studios.

Beethoven: Complete Symphonies (Decca, 5 CDs)
Gewandhausorchester Leipzig cond. Riccardo Chailly

It's an amazing thing--no matter how many recordings of the Beethoven symphonies you hear, there is always a conductor who manages to bring out something new and unheard in the works. Here, it's Riccardo Chailly, whose five-disc account of the symphonies (with some overtures) is a welcome addition to an already vast catalogue.

These are all live recordings: brisk, invigorating accounts of these familiar symphonies. The Fifth (taken at a very fast tempo) is a highlight. The Sixth is played with great purpose and clarity. In the later symphonies (7, 8) Mr. Chailly draws out the textures of Beethoven's string writing, showing the composer pushing the musical envelope. The Ninth wails and stomps through the first two movements. The third is played very slowly--Chailly's experience with Bruckner pays off here. There is an inspired set of soloists in the final choral movement. Recommended.

Fidelio (Decca, 2 CDs)
Lucerne Festival Orchestra cond. Claudio Abbado
Leonore/Fidelio: Nina Stemme
Florestan:  Jonas Kaufmann

Now this was a good idea. Jonas Kaufmann's first major studio opera recording has him taking on the challenging role of Florestan, wrongfully imprisoned by a vengeful government official. To save him, his wife Leonore (Nina Stemme) cross-dresses and becomes "Fidelio", a suspiciously helpful turnkey in the prison. This is the first new recording of Fidelio in a while, which is mostly due to a lack of Leonores. 

Happily, Nina Stemme is admirably qualified for the part, a full-on Wagner soprano who can summon tenderness in the big Act I quartet. The strong cast features Falk Struckmann as the baddie, and bass Christoph Fistesscher as Rocco. In a welcome return to opera recordings, the great Claudio Abbado shows his way with Beethoven, leading this Swiss orchestra.

Beethoven (Deutsche Grammophon, 13 CDs)
Berlin Philharmonic cond. Herbert von Karajan
It's coming out next month: the reissue of Herbert von Karajan's umpteenth (and final) cycle of Beethoven symphonies made with the Berlin Philharmonic. Experience the pristine DG Karajan Gold sound without having to shell out too many gold pieces.

Over the course of a five-decade recording career, Karajan repeatedly recorded the Beethoven symphonies, seeking greater refinement of sound from his Berlin Philharmonic forces. The "standard" is his 1963 cycle with the Berlin Philharmonic. But even if it's in the interests of completism, there's something to be said for these digital readings, made in the early 1980s when the conductor's power was at its height.

But wait, shoppers, there's more! This small but mighty box includes the Anne Sophie Mutter recording of the Beethoven Violin Concerto, a rare orchestral arrangement of the Grosse Fugue, and a cycle of the piano concertos. Christoph Eschenbach plays the first, and Alexis Weissenberg (appearing under a special licensing deal with EMI Classics) plays Nos. 2-5.


Beethoven: Symphonies 1, 2, 3 (3 DVDs or 1 Blu-Ray)
Symphonies 4, 5, 6 (3 DVDs or 1 Blu-Ray)
Symphonies 7, 8, 9 (3 DVDs or 1 Blu-Ray)
Hi-def high-quality Beethoven from Christian Thielemann, the German conductor whose whole career has been a determined throwback to the great kapellmeisters of the past: Hans Richter and Arthur Nikisch. These are visual records of the Vienna Philharmonic playing these great works in the legendary Musikverein. If you want the audio record, the CD box set (released by Sony) comes out on Dec. 27.

From my review:
"Mr. Thielemann leads a straightforward, über-Romantic interpretation, opting for a limpid clarity of texture that allows the listener to hear these sturdy works afresh. He is aided by the sterling acoustics of the hall, the quiet-as-mice audience, and of course the unique sound of the Vienna Philharmonic, whose well-documented use of "Viennese" horns, period oboes and goat-skin drums make them, in effect, an historic ensemble that chooses tradition over technology."

The concert films and recordings are top-notch, even though the camera has a music video tendency to cut too quickly. And if you have a post-Christmas gift certificate, these concerts will be released on CD on Dec. 27.

Beethoven: The Complete Symphony Collection 
(MP3 Download Only, Everest Classics)
London Symphony Orchestra cond. Joseph Krips
This 53-year old set is from the stereo boom, when many record labels were putting together orchestras and conductors in an effort to get into the market. Joseph Krips is chiefly remembered for his opera recordings, most notably a Vienne Don Giovanni that remains an industry standard. The LSO sounds great, captured in their prime. And hey, it's SIX BUCKS for a high-quality MP3 download from Amazon. At that price, it's bound to make somebody happy if they find it in their mailbox this holiday season.

Check out the rest of the 2011 Superconductor Gift Guide:

Part I: Gigantic Boxed Sets

Part II: Slightly Smaller Boxed Sets

Part IV: Opera Recordings
Part V: Piano Mania

Recording Recommendations: Il Trovatore

Hot couple: Franco Corelli and Leontyne Price

or, why 1962 was the Year of the Anvil.


"Il Trovatore is easy. All you need is the four greatest singers in the world."

Those words (or something like them) are attributed to Enrico Caruso, who made the role of Manrico his bread and butter in the early 20th century. Looking at the available recordings of this famously difficult Verdi opera, he was right.
In other words, there are some wretched recordings of Il Trovatore on the market.


Here's two good ones. Both of these recordings are currently in the catalogue. Both are available from Deutsche Grammophon. And both were recorded in 1962.

Chorus and Orchestra of La Scala cond. Tullio Serafin


Leonore: Antonietta Stella
Manrico: Carlo Bergonzi
Azucena: Fiorenza Cossotto
Comte di Luna: Ettore Bastinanini

As an opera lover, it took me a long time to settle on this particular Trovatore as my "go-to" recording. This one, recorded in Milan in 1962 isn't perfect, but it's likeable, energetic and well sung. Carlo Bergonzi simply hits it out of the park as Manrico. Fiorenza Cossotto is a haunting presence as Azucena, making the most of this complex character. Ettore Bastianini is a dastardly Count Luna with just a hint of humanity. The only hitch is Antonietta Stella, whose Leonora is acceptable, but not up to the standards of the other singers in the cast. Tullio Serafin conducts a skilled, measured performance.


Vienna Philharmonic cond. Herbert von Karajan


Leonora: Leontyne Price
Manrico: Franco Corelli
Azucena: Giulietta Simionato
Comte di Luna: Ettore Bastinanini

This is a semi-legendary live performance from 1962, recorded at the Salzburg Festival. It preserves the great Leontyne Price as Leonora. She is perfectly partnered with Franco Corelli, the embodiment of the manly Italian tenor. Both her "Tacea la notte" and his "Di quella pira" embody their respective characters perfectly. Cossotto is a wonderful, haunting Azucena.

Bastinanini, (who would have a falling out with Karajan a few years later) is even better here than on the above-mentioned studio recording. The Vienna Philharmonic put their backs into a superb performance, and anyone who wants to hear Karajan when he was still a great opera conductor needs to give this a spin. An essential.

Note: This is a live performance taken from a radio broadcast. Also, this same performance has been issued before, on various labels of dubious origin. For this reissue in the Salzburg Festival Dokumente series, the DG engineers dug up the original master tape of the Austrian radio broadcast.  It is in mono sound.

Leontyne Price and Franco Corelli singing the "Miserere" from Act IV of Il Trovatore. 

Recorded at the Metropolitan Opera in 1961.

Recordings Review: Karajan's 1964 Die Frau Ohne Schatten

The classic 1964 Salzburg Festival recording on Superconductor.

by Paul J. Pelkonen

If any listener needs convincing regarding the transcendent podium abilities of Herbert von Karajan they need look no further than this 1964 recording of Strauss' Die Frau Ohne Schatten. Made at the conclusion of Karajan's Vienna tenure, this live radio broadcast illustrate' the conductor's ability to draw the maximum amount of intensity and emotional impact from this admittedly difficult work.

It doesn't hurt that this fresh-sounding performance has a cast made up of some of the most important singers of the 1960's, caught here well before their decline. Jess Thomas is ideal as the Emperor.  His voice is the right size for this difficult part. There is a thrilling moment in his Act One aria when the orchestra swells so an enormous climax and there is applause before the music detonates in a flood of emotional rapture. This recording is full of moments like that where the inhabitants of Hofmannsthal' arcane world spring thrillingly to life.

Leonie Rysanek's Empress is ethereal, yet fully realized in a dramatic sense. She tracks the character's path to full womanhood with unerring clarity and the sweetness of tone that marks the best Strauss sopranos. She is well-matched by the Dyer's Wife, sung with characteristic intelligence by Christa Ludwig. Finally, Grace Hoffman is a cunning Nurse, delivering all facets of the most complex character in the opera.

The veteran of the cast is Walter Berry in the key role of the dyer, Barak. His baritone conveys the warmth and complex emotions of the character with nuance and respect for the text. The Vienna Philharmonic plays with intelligence and clarity, and their love for this music is obvious. Karajan intended these performances to be his farewell gift to Vienna upon his departure.

This is a live recording, and stage noises are audible, but not to the point of distraction. The only drawback is a series of major cuts to the score, which are most noticeable in the latter two acts. Act Two has an entire scene excised, a cut taken by Karajan. The third act has the standard cuts, which render the drama a little confusing. However, the singing and superb orchestral performances make this a must-have for Strauss lovers.

DVD Review: Il Trovatore at the Vienna State Opera

Raina Kaibavanska as Leonora. 

That's the famous poison ring on her finger.

This 1978 performance of Il Trovatore from Vienna is a definitive performance of Verdi's war opera, under the stern direction of Herbert von Karajan.

Placído Domingo is at the height of his powers here, singing the title role with power and passion, his dark-tinted tenor ideally suited and still capable of the vocal leaps and bounds required by some of Verdi's most challenging music. His Manrico is a mix of neurosis and sex appeal whose death in the fourth act leaves the viewer feeling hollow. It should say something about his performance that his "Di quella pira" rings down the curtain on Act III with so much gusto and energy that the aria feels like the climactic finish of the opera. You almost forget that there's a fourth act to come.


Domingo may be on the marquee at the Wiener Staatsoper, but all four leading parts in this opera are rock-solid. (Since this is a requirement for a great Trovatore, there are a lot of bad recordings of this opera!) Raina Kabaivanska is more than able in the part of Leonora, tossing off high notes and building the role to a glorious, suicidal end. Her Act III duet with Domingo stops the opera dead for applause.

Even better though, is Fiorenza Cossotto in the role of Azucena. Manrico's gypsy mother must have an incredible chemistry with her son for this opera to work, and their duet in Act IV brings their relationship to a powerful climax. Cossotto skates on the edge of mania here, suffering guilt, grief, and a kind of dizzying dementia that you only see and hear in Italian opera.

Piero Cappuccilli was a great Verdi baritone, well-known for his excellent recordings as Rigoletto and Boccanegra, Here, he appears in fine voice as Conte di Luna, using his refined, smooth baritone to make this a fairly sympathetic villain with a minimum of mustache-twirling. It is nice to hear Karajan stalwarts Jose van Dam and Heinz Zednik in the tiny supporting roles of Ferrando and Ruiz.

Herbert von Karajan conducts his crack Vienna orchestra as if he is leading his own invasion of Spain. The maestro always dd well with Trovatore and here he shows his skill as an accompanist. Rarest of all, at the very end of this DVD, Karajan smiles.