SCHOENBERG Moses und Aron
View record and artist detailsRecord and Artist Details
Composer or Director: Arnold Schoenberg
Genre:
Opera
Label: Bel Air Classiques
Magazine Review Date: 01/2018
Media Format: Digital Versatile Disc
Media Runtime: 113
Mastering:
DDD
Catalogue Number: BAC136
Tracks:
Composition | Artist Credit |
---|---|
Moses und Aron |
Arnold Schoenberg, Composer
Arnold Schoenberg, Composer Catherine Wyn-Rogers, Invalid Woman, Mezzo soprano Chae Wook Lim, Man, Baritone Christopher Purves, Another Man; Ephraimite, Baritone John Graham-Hall, Aron, Tenor Julie Davies, Young Girl, Soprano Michael Pflumm, Naked Youth, Tenor Nicky Spence, Young man, Tenor Paris Opera Chorus Paris Opera Orchestra Philippe Jordan, Conductor Ralf Lukas, Priest, Bass-baritone Thomas Johannes Mayer, Moses, Baritone |
Author: Peter Quantrill
After an uningratiating start, John Graham-Hall does more than cope with Aron’s punishing tessitura: more accurate and agile than Thomas Moser in Vienna for Reto Nickler’s production (Arthaus, 8/07), he forms a vividly directed double act with Thomas Johannes Mayer, who pitches much of his Sprechstimme. The effect is not only gratifying, in that more of what Schoenberg actually wrote is audible, but it brings a warm humanity to their scenes as brothers who can’t help finishing each other’s sentences even while talking at cross purposes.
Other fine English singers are involved, though you will be hard pressed to identify most of them as they emerge from, and are just as rapidly absorbed within, the heat of battle: musical, theological, theatrical. So: we need to talk about the show. Act 1 takes place in mist behind a blurring gauze from which Aron’s transforming symbols of God made manifest (a missile, radioactive isotopes and a phial of blood) emerge with awful, gradual recognition. God is very present, even if no one can find him. There, in a nutshell, is the story of Moses.
As in his Brussels Parsifal (filmed for DVD, 2/14) and his Munich Tannhäuser (not yet), Romeo Castellucci brings live animals and the most subtle use of video into play. Previous of his own theatre pieces put the stuff of life (light, water, body fluids and waste) at the service of rituals such as the Dante-inspired Inferno and Paradiso (on YouTube and unmissable). Here it’s blood and tape as carriers of memory – and ink, our liquid of language. Everyone is covered in the stuff during the course of Act 2, including the Golden Calf himself, a magnificent Charolais bull. In the pit, Philippe Jordan performs miracles of his own in bringing tremendous éclat to the ritual dances of Act 2, where Schoenberg was surely saying to his West Coast neighbour Stravinsky, anything you can do …
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