Bernstein - Candide (1988 final version)

London Symphony Chorus and Orchestra / Leonard Bernstein

DG 474 472-GTA2 Buy now

(112' · DDD · N/T)

Jerry Hadley ten Candide; June Anderson sop Cunegonde; Adolph Green ten Dr Pangloss Martin; Christa Ludwig mez Old Lady; Nicolai Gedda ten Governor Vanderdendur Ragotski; Della Jones mez Paquette

Here’s musical comedy, grand opera, operetta, satire, melodrama, all rolled into one. We can thank John Mauceri for much of the restoration work: his 1988 Scottish Opera production was the spur for this recording and prompted exhaustive reappraisal. Numbers like ‘We are women’, ‘Martin’s Laughing Song’ and ‘Nothing more than this’ had rarely been heard, if at all. The last mentioned, Candide’s ‘aria of disillusionment’, is one of the enduring glories of the score, reinstated where Bernstein always wanted it (but where no producer would have it), near the very end of the show. Bernstein called it his ‘Puccini aria’, and that it is – bittersweet, long-breathed, supported, enriched and ennobled by its inspiring string counterpoint. And this is but one of many forgotten gems.

It was an inspiration on someone’s part (probably Bernstein’s) to persuade the great and versatile Christa Ludwig and Nicolai Gedda (in his sixties and still hurling out top Bs) to fill the principal character roles. To say they do so ripely is to do them scant justice. Bernstein’s old sparring partner Adolph Green braves the tongue-twisting and many-hatted Dr Pangloss with his own highly individual form of Sprechstimme, Jerry Hadley sings the title-role most beautifully, con amore, and June Anderson has all the notes, and more, for the faithless, air-headed Cunegonde. It’s just a pity that someone didn’t tell her that discretion is the better part of comedy. ‘Glitter and be gay’ is much funnier for being played straighter, odd as it may sound. Otherwise, the supporting roles are all well taken and the London Symphony Chorus has a field-day in each of its collective guises.

Having waited so long to commit every last note (or thereabouts) of his cherished score to disc, there are moments here where Bernstein seems almost reluctant to move on. His tempi are measured, to say the least, the score fleshier now in every respect: even that raciest of Overtures has now acquired a more deliberate gait, a more opulent tone. But Bernstein would be Bernstein, and there are moments where you’re more than grateful for his indulgence: the grandiose chorales, the panoramic orchestra-scapes (sumptuously recorded), and of course, that thrilling finale – the best of all possible Bernstein anthems at the slowest of all possible speeds – and why not (prepare to hold your breath at the choral a cappella). You’re unlikely to be disappointed by this disc.