Claudio Monteverdi (1567-1643)
Il ritorno d’Ulisse in patria (The Homecoming of Ulysses, 1640) opera in three acts
Ulisse – Richard Stilwell (baritone)
Penelope – Frederica von Stade (mezzo)
Telemaco – Patrick Power (tenor)
Minerva- Ann Murray (mezzo)
La Fortuna – Lynda Russell (soprano)
Nettuno – Roger Bryson (bass)
Il Tempo /Antinoö – Ugo Trama (bass)
Eumete – Richard Lewis (tenor)
Glyndebourne Festival Chorus
London Philharmonic Orchestra/Raymond Leppard
rec. 1979, Henry Wood Hall, London
Sony Classical 88985 345922 [3 CDs: 166]
Authentic performance practices for Monteverdi works have come a long way since Raymond Leppard first presented his edition of the score for Il ritorno d’Ulisse in patria at the Glyndebourne Festival in 1973 (review). These days performances of the three surviving Monteverdi operas have a much sparser sound, in line with what we know of the historical records of how such works were performed in the theaters of the 17th Century. In the 1960s and 70s the challenge was to get opera houses interested in presenting these works to a public who knew very little about them. Raymond Leppard was a visionary in creating stage editions which would work in modern opera houses that would not sound too strange to audience ears that were not quite ready for the sound of period performances. For opera lovers of my generation Leppard’s versions (and Nicholas Harnoncourt a few years later) of Monteverdi were how we first learned about these remarkable operas. For younger aficionados of Monteverdi, who have only known them through recordings or videos of more recent times, recordings like this one may sound impossibly archaic to their ears.
Leppard, Harnoncourt and Hans Werner Henze were three musical greats who essentially created entirely new orchestrations for Il ritorno d’Ulissein patria. In Leppard’s case he added-in some music of his own (but always deriving from musical themes he found in Monteverdi’s Madrigals) to stand-in for music that was clearly indicated in the original printed libretto but missing from the sole surviving score. The storm scene in Act One and a dramatically important dance in Act Two are just two examples of Leppard’s contributions to fill out the score. He also cut some of Monteverdi’s original music, chiefly parts of the lengthier solos for the three suitors during the scene with Ulysses’ bow, which he felt was too drawn out in a live performance. Leppard used a colourful-sounding continuo which includes a harp, lute, harpsichord and guitar, along with the more customary cello and double bass. In the interludes and arioso music Leppard avails himself of a large string component as well as brass, including trombones at various times to accompany the deities. This setting gives the music a colourful wash of sound that is distinctly heavier than one would hear today. Hans Werner Henze went even further than both Leppard and Harnocourt by adding a percussion section, as can be heard on the Orfeo classics CD set conducted by Jeffrey Tate. Hearing these performing editions today is not unlike experiencing the more vibrant orchestral tapestry of Nicolai Rimsky-Korsakov’s orchestration of Mussorgsky’s Boris Godunov. These adaptations are very entertaining in their own right, and can give enormous pleasure, although the greater orchestral presence in both works can distract the listener from fully engaging with some of the deeper emotions expressed by the soloists. Still in both cases, these adaptations can be enjoyed on their own terms, especially if, like myself, you often prefer opera more for its esthetic value than trying to seek out a deeper emotional experience from it.
Leppard conducted a revival of the work with a particularly strong cast for the 1979 revival at Glyndebourne after which they all went into the studio to make this recording. These are experienced international opera singers rather than period performance specialists whose interpretations on this set are noteworthy for vocal polish and a more robust tonal presence than one hears on more recent recordings. The most controversial element was, and still is, Frederica Von Stade’s performance as Penelope. Her sylph-like voice is lighter and higher than the contralto that Monetverdi’s score would seem to dictate (Bernarda Fink on René Jacobs’ recording is a good example). The choice of Von Stade is justified by the singer giving one of her loveliest assumptions of a role on disc. Her Penelope is not just sad and angry, she is vulnerability personified. Her Penelope is unique among all of the others I have heard for the youthfulness she personifies. It is worth my noting here that Leppard felt it necessary to occasionally raise Peneolpe’s vocal line for the odd phrase here and there to highlight a more effective part of Von Stade’s voice. Matching her stellar performance is Richard Stilwell’s grave and macho-sounding Ulysses. Stilwell’s copper-tinted baritone has strength and substance but he is also able to shade his voice down to a ravishing lightness of timbre such as when Ulysses’ calls out to his son Telemaco with one of Monteverdi’s most heartbreaking passages.
The three suitors here (Ugo Trama, John Fryatt and Bernard Dickerson) are really well characterized by the singers on this set, especially when they are singing in unison, although Trama’s Antinous is starting to sound a mite wobbly in his solos. Alexander Oliver’s Irus is a splendid portrait of insatiable lust for the consumption of food and drink. However, it is the veteran Richard Lewis who steals the heart of the listener as the sympathetic old shepherd Eumaeus.
Among the female members of the cast Nucci Condò brings some even, disciplined tones to role of Ulysses’ Old Nurse, Euryclea; however, I would have welcomed more individual character in her portrayal. The young Diana Montague opens the Prologue enchantingly as the embodiment of Human Frailty, while Ann Murray shows her mettle as a Minerva who is a force to be reckoned with.
The sound field on this recording is expansive with the voices and instruments having been extremely well- balanced by the team of engineers. I have listened to this opera over the last few days on both the Sony CDs, and the even more expansive sound of the 192 khz/24 kbps digital files, with both versions providing a thrilling audio experience. The back cover of the CD release indicates that the opera is abridged but the timings are identical to the original vinyl release. I conclude that by “abridged” they are referring to the few cuts that Leppard made from the Vienna score.
Returning to this after many years I was put in mind of the culinary delights of the same meat served up with different sauces to enhance the flavor. In the same manner there are sometimes more than one way to enjoy works with hazy musicological heritages, such as this opera and Boris Godunov. Who knows in 20 years time what will be considered to be good performance practice for these works? When it comes to Boris it seems that now we only get to hear the original 1869 edition. This banishes the wonderful Polish Act, which can even be more exciting when heard in the Rimsky-Korsakov Cinemascope-laden orchestration. Similarly, Raymond Leppard’s Monteverdi editions (and for that matter Harnoncourt’s and Henze’s) are unique experiences in their own right and are worthy of the occasional encounter for the musical pleasures that they provide. The well-established purists of period performance practice will no doubt dismiss this view as uniformed; however, for those without preconceived notions this is an audio treasure trove.
Mike Parr
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Other cast
Pisandro – John Fryatt (tenor)
Anfinomo – Bernard Dickerson (tenor)
Eurimaco – Max Rene Cossotti (tenor)
Melanto – Patricia Parker (mezzo)
Giove – Keith Lewis (tenor)
Giunone – Claire Powell (mezzo)
Iro – Alexander Oliver (tenor)
Ericlea – Nucci Condò (mezzo)
L’Umana Fragilità – Diana Montague (mezzo)
Amore – Kate Flowers (soprano)
