The Operatic Pianist II
View record and artist detailsRecord and Artist Details
Composer or Director: Andrew Wright, Giacomo Meyerbeer, Sigismond (Fortuné François) Thalberg, Camille Saint-Saëns, Vincenzo Bellini, Theodore Leschetizky, Franz Liszt, Alfred Jaell, Richard Wagner
Genre:
Instrumental
Label: Divine Art
Magazine Review Date: 10/2017
Media Format: CD or Download
Media Runtime: 67
Mastering:
DDD
Catalogue Number: DDA25153
Tracks:
Composition | Artist Credit |
---|---|
Reminiscences de Norma |
Alfred Jaell, Composer
Alfred Jaell, Composer Andrew Wright, Composer |
(Il) Pirata, Movement: ~ |
Vincenzo Bellini, Composer
Andrew Wright, Composer Vincenzo Bellini, Composer |
Andante finale: paraphrase on the opera 'Lucia di |
Theodore Leschetizky, Composer
Andrew Wright, Composer Theodore Leschetizky, Composer |
Fantasie sur Mose in Egito |
Sigismond (Fortuné François) Thalberg, Composer
Sigismond (Fortuné François) Thalberg, Composer |
Lohengrin, Movement: Lohengrin's Admonition (transcr. Liszt) |
Richard Wagner, Composer
Andrew Wright, Composer Richard Wagner, Composer |
Paraphrase on Verdi's Miserere |
Andrew Wright, Composer
Andrew Wright, Composer |
Cavatine de Robert le Diable |
Giacomo Meyerbeer, Composer
Andrew Wright, Composer Giacomo Meyerbeer, Composer |
Concert Paraphrase on la Mort de Thaïs |
Camille Saint-Saëns, Composer
Camille Saint-Saëns, Composer |
Rienzi (Wagner) Fantasy |
Franz Liszt, Composer
Andrew Wright, Composer Franz Liszt, Composer |
Author: Patrick Rucker
Andrew Wright has made a special study of the opera fantasy both as a performer and composer, and now follows up his 2014 release ‘The Operatic Pianist’ with a second volume. Wright’s own contributions to the programme include a more or less straightforward transcription of Imogene’s second act aria from Bellini’s Il pirata and a rather more ambitious paraphrase on the Miserere from Verdi’s Il trovatore. Not as succinct as Liszt’s treatment of the Miserere, Wright encumbers the proceedings with a curiously conspicuous extended trill and, in the manner of Liszt’s Niobe Fantasy, a hailstorm of minor thirds.
In terms of musical and pianistic invention, Alfred Jaëll’s Réminiscences de Norma falls short of the earlier fantasies of both Thalberg and Liszt inspired by the same opera. Leschetizky pads the sextet from Lucia with gratuitous arpeggios, creating a longer if less compelling musical experience. Of greater interest are Thalberg’s Moses Fantasy, one of the pieces he played during the famous Paris ‘duel’ with Liszt at the Princess Belgiojoso’s, and Saint-Saëns’s treatment of Massenet’s Thaïs, titled La mort de Thaïs. Yet in both, one wishes for a greater sense of drama and sweep, the go-for-broke sort of playing this repertory depends on.
Wright admirably avoids over-playing and his pedalling is always judicious. On the other hand, his dynamic range seems constrained and, at certain critical moments, he is prone to lose the musical line, that sleight-of-hand with which pianists strive to create the illusion of legato on an instrument essentially incapable of it.
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