Search - Ludwig van Beethoven, Luigi Cherubini, Giuseppe Verdi :: Operatic Recital

The first studio sampling of a burgeoning stage career

Charles G. Johnson | San Francisco, CA | 04/22/2005

(5 out of 5 stars)

"And what a thrilling sampling it is of a new dramatic soprano who was building a career for herself at the WNO and at Covent Garden with Lady Macbeth, Leonore in Fidelio, Senta in Hollander, Sieglinde in Walkure and Octavian in Rosenkavalier, until achieving world recognition when she replaced an ailing Leontyne Price in the more lyric role of Leonora in Trovatore at Covent Garden in 1964. Her success that night spawned a parallel career that would encompass the Verdi heroines of Aida, Elisabetta, Desdemona, and the Ballo Amelia, which was already a part of her repertory. Decca honored both sides of her career with an LP release of this particular collection of German and Italian arias in 1966, followed by a Verdi recital the following year. A CD collection that included selections from both recitals was released on the Belart label in England a few years ago. In the spirit of its new Classic Recitals line that includes original covers and no fillers, Decca released this CD containing only the material on the first LP.



In this recital one hears all of the positive features of Dame Gwyneth's performing that the wags who complain about wobble, shrillness, or scooping rarely seem to acknowledge: solid, even production with an uncannily powerful mask resonance and a force of projection that could penetrate any orchestral din; a distinctive timbre and style of tonal rounding that cannot be mistaken for any other singer; a commitment and sensitivity to the text that makes her reading of even the most overworked warhorse seem new; exemplary phrasing and vocal agility, and the ability to swell or float notes as needed.



So, to the program: Dame Gwyneth was the finest Fidelio Leonore of the 60s and 70s. Most people remember the Vienna performances under Bernstein, but in the record world it was Karl Bohm who brought her to perfection in the role, in a 1970 filmed version of a recording that was considerably better than his own Deutsche Grammophon recording of 1969. Compared with the film, this earlier Decca recording of Beethoven's first-act showpiece "Abscheulicher" falls slightly short. How? Mainly in pacing and in the dramatic impact of the final high B of "Gattinliebe." But, had this film not existed, one would still be hard pressed to find a recording of Abscheulicher to match this Decca one. The sheer vocal beauty of the opening lines of the central section "Komm, Hoffnung, lass den letzten Stern," has seldom been matched. Likewise, the range of emotion from rage to supplication to resolve is fully explored with remarkably varied production, volume, and phrasing. It is a real tour-de-force.



The vocal cruelties of Cherubini's Medea have made it a role less frequently performed, but Dame Gwyneth dispatched the aria "Dei tuoi figli" so confidently and beautifully in this recording that Decca contracted her to sing the entire role in a complete recording 2 years later. Yes, she is even superior to both Callas and Farrell, who attempted with some success to conquer the role. But no one matches Gwyneth's pathos and power in this aria, especially on the repeated accusation "Crudel," which comes back musically as "Pieta" at its conclusion. The monstrous Medea in Gwyneth's throat evokes and deserves our (and Jason's) pity.



Now, many may say that Dame Gwyneth was not the best Senta on the stage, but the 1975 BBC television production of The Flying Dutchman in English was my first visual operatic experience, a seminal one that I still remember on a visceral level. Gwyneth was the troubled daughter and Norman Bailey was the mysterious, tortured captain. Therefore, I only hear her voice in the role. Nonetheless, this earlier Decca recording of Senta's ballad is quite simply the best ever recorded. Not a single soprano has been able to combine volume, power, bel canto and such urgency to this strophic nightmare. Some lyric sopranos can master the high phrases and tessitura of the choruses, but they cannot produce the surging waves of sound in the verses that Gwyneth does. This Decca recording of the ballad far outshines her DG live recording from Bayreuth 5 years later.



The second Beethoven offering on this disc, the concert aria "Ah, perfido," is so similar to "Abscheulicher" that it almost seems like a duplicate track. Suffice it to say that all the good things Gwyneth does in Fidelio carry over here. As much as I am embarrassed to say, this is also the finest recording of this piece ever released.



When one listens to her "D'amor sull'ali rosee" from Verdi's Trovatore, it's easy to see why Gwyneth became an international sensation. Full of finesse and emotion, she spins the phrases and floats some thrilling pianissimi, and even has a REAL TRILL! Few people realize how stunningly gorgeous she could sound when singing quietly. However, in this aria I detect in her singing a slight deficiency in what I would call the Verdi style, i.e. bel canto timed and/or produced in such a way as to make his vocal line seem difficult but easy at the same time, lingering here on that appogiatura or a little scoop there to emphasize the beauty of the line, increasing the sense of playfulness and virtuosity. It's hard to describe, but once you've heard a top-notch lyric/spinto soprano sing this aria effortlessly, you know. That a dramatic soprano like Gwyneth could nevertheless pull off this type of lyric singing so marvelously is a wonder in itself, making this a valuable document, one that should be pulled out whenever some hack starts debasing her talent.



Verdi's "Pace, pace mio Dio" is one of those encores that exists for that final note on "Maledizione!" and Gwyneth, being the dramatic singer that she is, delivers the final note with power, menace, and loveliness. Her narrative pathos in the preparatory stanzas of this curse is not to be ignored, however. She used this aria as an encore or a gala showpiece for the entire span of her long career.



I own many entries in this Decca Classic Recitals series, but none that comes close to the overall artistry in this recital. Conductor Argeo Quadri and the Wiener Opernorchester are, for the most part, able partners, invisible or dominant as required. Someone please buy Jane Eaglen this CD, to show her that dramatic singing is more than 50% volume and 50% vapidity!!











"

An Amazing and Versitile Performer

Timothy Kearney | Hull, MA United States | 10/05/2005

(5 out of 5 stars)

"GWYNETH JONES: OPERATIC RECITAL is another treasure from the Decca archives. This collection, originally released in 1966, contains six arias that demonstrate Dame Gwyneth Jones' extraordinary vocal gifts. In some ways it could be called the Leonora collection. Three of the arias are well known Leonore/Leonora pieces from FIDELIO, IL TROVATORE and LA FORZA DEL DESTINO respectively. She is equally at home in the Beethoven role as she is as the Verdi heroines. We see her wide range as she beautifully performs "Dei tuoi figla la madre tu vedi" from Cherubini's MEDEA and with equal skill sings Senta's "Johohoe! Traft ihr das Schiff in Meere" from DER FLIEGENDE HOLLANDER (my personal favorite track on the recording). She also includes a Beethoven concert aria which again she masters.



Gwyneth Jones was long admired for her ability to handle a wide variety of roles. She mastered the great Wagnerian soprano roles and performed the great Verdi heroine roles with heart. She had great success at the great stages of the world including the Metropolitan Opera in New York and London's Covent Garden, and was one of the greats of her generation, but sometimes she seems a bit forgotten. When a clip about her career or a sample recording resurfaces, people think "Oh yes, Gwyneth Jones, I loved her voice." This recording can be a reminder of a great soprano who mastered a wide range of roles and has a voice that is always a pleasure to hear.



One note that does not affect the recording itself. Decca has tried to recapture the nostalgia of the period by using the same jacket cover and liner notes. Gwyneth Jones does look like the quintessential opera star of the 1960's on the front, but the liner notes, which are printed on the inside cover, are small, poorly printed, and almost illegible even with a magnifier. Perhaps an insert would help in this regard, but for a top quality performance at mid-price, I probably shouldn't complain.

"

Brava Diva!--A Tribute to Dame Gwyneth

The Cultural Observer | 07/21/2006

(5 out of 5 stars)

"More often than not, Wagner and Strauss operas are performed by singers who make it their primary goal to survive it to the end of these roles vocally unscathed, often sacrificing drama for vocalizing that thrills, but does not touch. I find that Gwyneth Jones offers not only that vocal thrill, but a most intelligent performance of the Olympian Wagner and Strauss roles that she excelled at during the 60's to the early 90's.



Her Brunnhilde, captured on video in the acclaimed Centennial Ring at Bayreuth, is the work of a great artist. The most amazing thing is, it is a huge voice encased in the body of a svelte, beautiful woman.



It is true that there are moments when Jones' voice isn't at its best behaviour, but no other Wagnerian soprano (and that includes singers like Nilsson, Varnay, Dernesch, Flagstad, and Traubel), were able to get into the character as much as Jones did, except maybe Martha Modl. Saying that, her voice is much more beautiful and powerful than Modl's. From her entrance in Walkure hurling her hojotohos at Wotan, to the Todesverkundigung scene, to the magnificent love duet at the end of Siegfried's act 3, and to the Immolation Scene, each one of these jewels from that Ring leave us with a feeling that we are seeing the actual character and not just a hulky diva showing off her vocal prowess. In my opinion, she is the best Brunnhilde ... period. The record companies who documented this great artist's career have also given us a taste of Jones' Senta, Venus, Elisabeth, Ortrud, Eva, Isolde, and Kundry. The best of these in my opinion, are her Kundry and Senta.



People say that Christa Ludwig gives the definitive Kundry on record. That is true if you are referring only to Kundry's soft side. If you want the complete Kundry as Wagner inteded to have the role acted, you must sample Jones' Kundry in her Parsifal with Boulez. It is demonic, malevolent, yet tender and resigned and tired when she needs to be. Jones is the definitive Kundry. On the other hand, when portraying Senta's dementia, no other artist captures the essence of the character like Jones. Her control of dynamics, in addition to her dramatic skills and her beautiful voice, make the performance one to cherish. Not falling far behind these two amazing portraits is Ortrud, and Jones' ability to bring about a sinister tone in her voice creates an atmosphere that no other villainess is able to achieve in record. In a Bayreuth performance, Jones also doubles as both Venus and Elisabeth in Tannhauser, and what is most astounding is that she is able to create characters who are distinctly different from each other with one voice. Her Isolde is captured in video with Rene Kollo as Tristan, and while her voice does not suggest the young princess character of Isolde, her performance is a complete, touching portrayal of the love stricken princess, culminating in a sublime Liebestod. Her Eva, recorded in Bayreuth, is not a definitive Eva, but it is nonetheless one of the most interesting performances ever recorded. Later in her career, Jones began singing Turandot, Elektra, Salome, the Dyer's Wife in Frau Ohne Schatten, and other great Strauss roles (one of them being her elegant and beautiful Marschallin with Carlos Kleiber). Her Turandot is the most wonderfully characterized portrayal of the role I have heard, and unlike most ice princesses, she exudes a certain sexuality that no other soprano gives to the character. The same can be said of her Salome too, but if one were to judge Jones at the calibre of her performances, one must see her Elektra and her Dyer's Wife. A recording of her performance of Elektra with Leonie Rysanek as Klytamnestra showcases these two divas at their most demented vocal powers. Since then, I have never looked back to other performances of Elektra. In that performance, Jones portrayed the title role's madness, sexual depravation, love for Agamemnnon, and a certain sexual attraction to Orestes. It is a desert island disc. Of course, you would be poorer if you have not heard Gwyneth Jones as the Dyer's Wife in Die Frau Ohne Schatten. A recorded performance with Dohnanyi conducting at the Paris Opera during 1980 shows Jones giving a performance of a lifetime, conquering the difficult music of the Dyer's Wife with all the drama, sexual frustration, wit, shrewdness, and intelligence that the character needs. I could go on and on about this magnificent artist, as she has moved me and opened me to these great roles more than any other singer of the Wagnerian and Straussian fach. You can sample her singing the difficult Senta's Ballad on this disc, making her voice go forte when needed, and softening it to a most delicate pianissimo where such an effect would bring the drama to life. I think in the aspect of dynamics, she is unrivaled. She owns one of the most brilliant and malleable dramatic soprano voices, and has one of the most beautiful middle registers for a hoch dramatische soprano--in fact, probably the only one in this century besides Nilsson, Grob-Prandl, Traubel, Flagstad, and Varnay. Also, her flexibility with different repertoire is showcased in this disc, with Gwyneth Jones singing both of Verdi's great Leonoras with the needed dynamics (and drama!!!). She is the only one, besides Maria Callas, who can bring justice to Pace Pace, and sing the Trovatore aria so plaintively. Gwyneth, in my opinion, is the greatest dramatic soprano.



She is a commanding person onstage, yet offstage, she is one of the most generous artists who offer more than what one expects of people of that profession. Brava Gwyneth!"