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SIMPLICIUS

Michael Volle, Martin Zysset, Rolf Haunstein
Choeur et Orchestre de l’Opéra de Zurich

FRANZ WELSER-MÖST

EMI Classics 2 CD 7243 5 57009 2

Ressuscité sur la scène de l’Opéra de Zurich en 1999, Simplicius est ici pour la première fois enregistré. De la veine du Baron tsigane ou de la Chauve-souris, cette opérette possède une vitalité irrésistible, entre ses valses, ses marches et son intrigue qui se termine, comme de coutume, sur un happy end. Le très sérieux Franz Welser-Möst s’amuse de cet imbroglio, entraînant sans peine derrière lui des chanteurs qui tiennent haut le pavé de l’opérette viennoise. A découvrir d’urgence.

 

 

WIEN. Der österreichische Dirigent Franz Welser-Möst, derzeit musikalischer Chef der Zürcher Oper, erhält den Mozartpreis 1999 der Goethe-Stiftung Basel. Die Auszeichnung ist mit 20.000 Schweizer Franken dotiert. Ferner werden fünf Förderpreise vergeben, die mit je 2000 Schweizer Franken dotiert sind. Für einen der Förderpreise hat der Preisträger selbst das Vorschlagsrecht. Franz Welser-Möst verlieh «seinen» Förderpreis an Alexander Janiczek, den Konzertmeister der Camerata Academica. Die Übergabe des Mozartpreises findet am 17. April in Innsbruck statt.




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ERICH WOLFGANG
KORNGOLD

DIE TOTE STADT

IL TOPOS DELLA CITTÀ ALLEGORIZZATA

UNO SPETTACOLO MAGISTRALE

RICHARD WAGNER
DIE MEISTERSINGER

FOTO DI SCENA
© Suzanne Schwiertz


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INDEX

HK GRUBER

AMAZON.DE


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DALLA RIVISTA «AMADEUS»

ZÜRICH ZAUBERT

DIE WELT

 

[...] In Cleveland, Mr. Welser-Möst participates in a number of community concerts and educational programs, including «Day of Music» and the Martin Luther King, Jr. Celebration Concert. In addition to the inauguration of new partnerships with the Cleveland Institute of Music and Oberlin Conservatory of Music, Mr. Welser-Möst is involved with the Cleveland Orchestra Youth Orchestra.

Highlights of Mr. Welser-Möst's concerts with the Orchestra during the 2002-03 season included the world premieres of Marc-André Dalbavie's Rocks Under the Water and Kaija Saariaho's Orion, both commissioned by the Orchestra, and United States premieres of works by Matthias Pintscher and Rolf Wallin. Mr. Welser-Möst led the Orchestra on a Midwest tour and on an East Coast tour that included a Carnegie Hall residency. He closed the 2002-03 Severance Hall season with concert performances of Verdi's Don Carlo. In July 2003, he made his first of regular appearances at the Blossom Festival, conducting The Cleveland Orchestra during the opening weekend of the Festival in concerts that celebrated the reopening of Blossom following a major renovation of the facility. [...]

 

«[...] The greatest applause for Mahler's Ninth is silence. I remember a performance of the Schubert Unfinished Symphony in Vienna – we had 25 seconds of no applause. That's wonderful. I remember a Mahler Ninth in my early days in Sweden, when we had more than one minute of no applause. And when you have achieved that… it means more than a standing ovation. And in that sense, I hope we have that communication with the people in Cleveland as well – that they will be open to that, that they will express what they feel. In the beginning of March, we did Messiaen's Turangalila Symphony, and the management said this was one of the biggest successes ever of any piece. And that is the way it should be and the way it is meant to be. And I hope that the Cleveland audience – and I think they are open-minded enough – that they will cry and laugh, so to speak, in performances and be silent when necessary and be cheerful when necessary. [...]

 

OKTOBER


Really overwhelming!

 

Even if I'm a longtime Bruckner fan, I came to these works only lately. I admit that I usually like my music «abstract» and I don't listen a lot to «vocal» music , whether sacred or profane. I guess I feel the presence of a sung text and/or a «program» like a distraction from the flow of the music, so to say. Anyway, even if I'm not an expert in this kind of music, I dare to suggest listeners to get this, because it's quite an experience. Actually, lovers of Bruckner's symphonies will find here all the familiar features: alternation of intimate sections ( for example there's a beautiful part for violin solo in the Te Deum) and huge crescendos, majestic double fugues and ecstatically jubilant climaxes. It seemed to me that Bruckner's "sacred style" is very similar to the «profane» one, and that's not too surprising, given the deeply personal (but also so universal!) quality of his whole output. The vocal writing, too, is compelling, with many passages (especially the choral ones) bursting with a sort of "spiritual thrill" that I found irresistible. Both the pieces are great, but I find the Te Deum particularly magisterial, a masterpiece. In this cd Welser-Most , drawing first-class singing and playing from a very mixed team (international soloists, Austrian choir, British orchestra) achieves a performance with a strong sense of unity and purpose.

 

Maybe those who like their Bruckner more mystically rarefied may not share his view, because here everything is grandly and dramatically shaped, to maximum effect, but I found it a thrilling and moving experience. The recording is very good, even more remarkable considering that these pieces, probably give great balancing problems to sound engineers. Very generous timing, very close to the limits of the format (79:26!).



 


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