Search - Samuel Barber, Spoleto Festival Orchestra, Alan Arak :: Antony and Cleopatra

20th Century Grand Opera

Christopher Forbes | Brooklyn,, NY | 06/25/2002

(4 out of 5 stars)

"This is one of the greatest "failure" operas of the 20th century. Written for the opening of the new Met at Lincoln Center, the opera was in some ways overshadowed by the occasion, and while a triumph with the opening night audience, it was a critical failure. This reputation has followed it ever since, even with the massive overhaul that Barber gave it before he died. It's a real shame, since this is a jewel of 20th century opera, if not a diamond, than at least an emerald. The opera still suffers from libretto problems. In many ways, it would have been better for Barber to attempt something on the scale of Les Troyens...the subject calls for it and Barber would have been up to the challenge. He has a Verdian sweep and sense of scale. Some of the chorus scenes can veer toward the "movie music" cliches of Egypt and Rome. Listen especially to the instrumental passages in Cleopatra's first act aria "Give Me Some Music". And yet, despite this, the aria is lovely and highly successful. It is even more adventurous harmonically than Vanessa, and yet never looses it's melodic drive. Contrary to other reviewers, I don't belive that the recit sections are dry. I think that, rather, they are dramatic and beautifully constructed. And Barber is not afraid to let his melodies soar in solo and ensemble work. The second act love duet is ravishing. Barber also has a great sense for orchestral color. The death of Anthony, accompanied by just timpani and flute, is spellbinding in it's simplicity. The writing for the voices is stunning. Cleopatra is a marvelous role, and shows that it was inspired by it's star, Leontyne Price. Price never lost faith in the work, and sung "Bring Me My Robe" at her farewell concert from the Met. The role is majestic, dramatic and full of lovely melody. Anthony also has wonderful moments, particularly his suicide scene. The smaller roles are less well graced, but Caesar gets a few juicy lines before the show is over. The recording is pretty good. It is taken from a live 1983performance at the Spoletto Festival in Italy. It's hard to review the performance, as there are not many comparisons. All of the singers are young, and most have not gone on to have really top knotch careers. Ester Hinds sings Cleopatra with power, but her diction leaves much to be desired. She cannot compare to the recorded excerpts that Leontyne Price has left behind. One wishes that Ms. Price had had an opportunity to record the entire work. That would have been stunning. Jeffrey Wells as Antony is much better, but still not a distiguished singer. Eric Halfvarson as Enobarbus is in the mold of the great Verdi Baritones, but doesn't get much meaty to sing. And the recording is marred slightly by stage noise, inevitable when you are dealing with a live performance, but unfortunate anyway. All in all, this is an opera that rewards repeated listening. And one that should be revived."

Not Shakespeare by any means

F. Behrens | Keene, NH USA | 08/24/1999

(4 out of 5 stars)

"This is not the version that flopped when it played at Lincoln Center (that was mostly because of the staging) but a revision. The libretto by Zeffirelli is less than a Monarch Notes version of the sprawling Shakespeare original; but that could be acceptable in an opera libretto if it weren't for the fact that no situation is allowed to develop dramatically before we are off to the next one. (The one exception is the scene in which Cleopatra beats the messenger for telling the truth, and that is relatively too long in this work.) So what remains is the music. A good deal of it is too much like dry recite to be of much interest--but oh, there are magic moments in which the music does what it should do in an opera (and resolutely refuses to in operas by Rorem, Previn, and too many others with delusions of grandeur). The best example comes in the description of Cleopatra's barge when the Chorus joins in and for once the MUSIC says it all, even if you cannot understand the words. For those few moments alone, Barber stands far above the other 20th century tyros who keep showing up on PBS as "Great Performances." This is a recording worth having, if you just forget Shakespeare and listen to Barber."

A masterwork unfairly treated.

Alfonso Affinito | West Haven, Connecticut USA | 06/24/2002

(4 out of 5 stars)

"I am fortunate enough to have heard (and recorded) the world premiere of "Antony" in 1965. The present rcording is more intimate and romantic, probably due to the vitriolic reviews when it was first heard. The original score lacks the love duet but is far more exciting and a fuller realization of the Shakespeare play. Written for the inaugural performance at the new Met, it galls me that such a brilliant work was never produced there again. One must remember that the October opening of the house was also the start of the New York social season. It was a new house in a new Art Center, and I don't believe enough focus was put on the opera itself. Everyone was probably looking over one another etc. Most of the awful reviews were written by people like Shana Alexander who has absolutely NO credentials as a music critc. I won't go on, but suffice it to say, I'm happy to have a recording of that first performance and enjoy the present commercial recordin....although it lacks the grandeur and punch of the original. My wish is that someday it will be recognized as the great work that it is. Puccin's Madama Butterfly was a howling fiasco at it's premiere. Can you imagine THAT?"