Search - Janacek, Jilek, Bjoco :: Fate

The enterprising and highly enjoyable recording!

01/23/2000

(5 out of 5 stars)

"The conductor Frantisek Jilek is generally under-rated as among the leading interpreters of Janacek orchestral and operatic works. Whereas Rostropovich virtually unearthed and brought to light Shostakovich's Lady Macbeth of the District Mtsensk (original 1934 version), Jilek did the same with Janacek's Osud (of 1905). "Osud" (or Fate) was among the works Janacek laboured upon, especially surrounding linguistical matters, and it was not performed until 1936, eight years after the composer's demise. "Osud" is entirely enticing and original and the neglect of the three act opera is simply baffling. This proves how more important Jilek's recording of "Osud" is.Jilak's minor revisions of the score was based on copies of Janacek's own manuscripts, especially his 1907 revision of the work while the original orchestration remained intact throughout. The result is ultimately impressive and enduring. The opera "Fate" is coherent and flowing throughout and the thematic materials remained harmonious and never at risk of stepping off-track. The plot is simple and attractive although it's 15 year timespan may cause some alarm for some listeners.For an opera no longer than 75 minutes, the casting is surprisingly large (23 characters plus chorus). The singing quality of the singers is uniformly fresh and vivid, especially the child role sang by soprano Milena Jilkova. I especially admire the singing of Vladimir Krejcik as Dr. Suda and that of Jarmila Palivcova as Mila's Mother. The performance of the Brno janacek Opera Chorus and Orchestra likewise performed with distinction, warmth, enthusiasm, and overall first-class. Frantisek Jilek's phrasings and reading were also idiomatic and refreshing, not undermining the vividness and imaginative prowness so much among the aspects of Janacek's works in general. The Supraphon CD sound is valiant and opulent, despite its' reissue of the original 1976 recording.The music summary is detailed and informative and Jilak's notes on his wrestling with putting the authencity of Janacek's score more firmly in place should not be overlooked. Besides an excellent synopsis, the booklet is well prepared (though I wish page numbers was provided next to the track numbers for easier references). But the performance is truly enticing and memorable throughout: no doubt a model in my mind. My hope! Is that Supraphon prevent this recording from deletion, despite the recent praises of the newly Mackerras recording with the Czech Philharmonic (under Chandos).Strongly and passionately recommended!"