Richard Strauss (1864-1949)
Die schweigsame Frau, Op 80 (scenes)
Sir Morosus – Hans Hotter (bass)
Haushälterin – Lilian Benningsen (contralto)
Der Barbier – Hermann Prey (baritone)
Henry Morosus – Fritz Wunderlich
Aminta – Ingeborg Hallstein (soprano)
Symphonieorchester des Bayerischen Rundfunks / Heinz Wallberg
rec. 1960, Ausstellungspark-Bayernhalle, Munich
BR Klassik 900219 [49]
While I knew of the 1959 live recording of the complete, three-act opera conducted by Karl Böhm in Salzburg on Deutsche Grammophon, I was unaware of this studio recording of selected scenes from, peculiarly, only the first two acts, now re-issued by BR Klassik.
The same cuts employed by Böhm for the stage production are duplicated here in these excerpts. We are given fifty minutes of music from a two and a half hour opera and nothing from the third act – which is a pity, as that means some of the best music is missing, including Henry’s fiendishly difficult last aria, “Willst du wirklich mich nicht kennen?”, wonderfully sung by Fritz Wunderlich in the live performance, and Sir Morosus’ beautiful closing monologue, “Wie schön ist doch die Musik”. Furthermore, whereas the DG set offers a full libretto unfortunately, BR Klassik provides no texts, just a reasonably detailed synopsis which at least narrates the dénouement of the missing third act. As there is so much dialogue and recitativo, which are woven seamlessly into arias and ensembles, that is a barrier for non-German speaking audience. I have some German and the libretto from the DG set but it all moves so fast that it can be quite difficult to follow.
Four singers are common to the two casts: principals Hans Hotter, Hermann Prey and Wunderlich, and Josef Knapp in a minor role, but all the other roles are taken by different singers from the stage production so it is something of an exaggeration by Dr Renate Ulm to claim in the note that this recording features “an almost identical cast of singers” – and we also have a different orchestra and conductor. The big advantage here of course is the studio, stereo sound, as the live recording is mono and plagued by stage noise, so we now have a much better opportunity to relish the music.
That music is certainly varied, inventive and enjoyable; the opening dialogue between Prey and Hotter offers them every opportunity vocally and dramatically to demonstrate their respective skills; both had a gift for comedy and Prey’s fluent, smart, cheeky-chappie barber is not so far removed from his more famous Rossinian counterpart – especially in his ability to “smell gold”, contrasting neatly with Hotter’s grumbling, rumbling misanthrope with a secret, tender heart of gold. His repeated “Ich bin zu alt” is touching. Both vocalise beautifully. Ingeborg Hallstein is no poor substitute for Hilde Güden; she copes admirably with her stratospheric passages, even touching a top F, and acts convincingly. A bonus is the rich bass of Karl Christian Kohn as Vanuzzi, impersonating a reverend to conduct the phony marriage ceremony; many will recognise him as Kaspar in Keilberth’s recording of Weber’s Der Freischütz. Wunderlich does not have so much to do until the last excerpt, when he sings divinely in his love duet with Hallstein’s Aminta, in which Strauss’ gift for lyricism blooms.
There was a new recording from the CPO label a decade ago and I refer you to my review of that for more background information regarding the opera, but the standard of singing there is poor and for the complete work well performed one must return to the DG box set, mediocre sound notwithstanding. It is hard not to regret that the whole opera was not recorded in the studio – or at least all the best excerpts. As it is, we still have a lovely supplement here, featuring some first class artists very well conducted.
Ralph Moore
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Other cast
Isotta – Eva Maria Rogner (soprano)
Carlotta – Mariann Radev (soprano)
Morbio – Josef Knapp (baritone)
Vanuzzi – Karl Christan Kohn (bass)
Farfallo – Karl Hoppe (bass)
