Holst Savitri; Songs
View record and artist detailsRecord and Artist Details
Composer or Director: Gustav Holst
Genre:
Opera
Label: Hyperion
Magazine Review Date: 1/1984
Media Format: Vinyl
Media Runtime: 0
Mastering:
DDD
Catalogue Number: A66099
Tracks:
| Composition | Artist Credit |
|---|---|
| Sávitri |
Gustav Holst, Composer
(Richard) Hickox Singers City of London Sinfonia Felicity Palmer, Sávitri, Soprano Gustav Holst, Composer Philip Langridge, Satyaván, Tenor Richard Hickox, Conductor Stephen Varcoe, Death, Bass |
| (12) Songs |
Gustav Holst, Composer
Adriana Buda, Floriana City of London Sinfonia Elinor Parker, Anaide Gustav Holst, Composer James Rocco, Sloane James Rocco, Sloane James Rocco, Sloane Patrizia Kwella, Soprano Richard Hickox, Conductor |
Author: John Warrack
The reissue on Argo of Imogen Holst's own classic performance of S€vitri, with Janet Baker, Robert Tear and Thomas Hemsley, got in ahead of this new version, but does not thereby rob it of interest. Indeed, Imogen Holst herself has lent it her implicit blessing by arranging for the Holst Foundation to sponsor it. Richard Hickox conducts a most vivid and sensitive performance that, if it is much in the mould of Imogen Holst's own performance, is none the less freshly thought out again. The opera is an amazing little masterpiece: it deserves all Hickox's care with the subtle bitonal contrapuntal lines and the spare yet sonorous textures. Only very seldom have the latter gone wrong, it seems to me; it is, for instance, not easy to hear the flutes' sixths and thirds figure as Death approaches, where it should colour the texture distinctively, and once or twice the basses are perhaps a little powerful. There is inevitably little feeling of the open air at the start and finish as Death advances from the forest and recedes back into it, but the sense of a large hall is too vivid.
These are not important points. Interest attaches more to the performances, about which I have only one reservation. This concerns Stephen Varcoe's performance of Death. Beautifully as he sings it, with a firm yet flexible line and a proper understanding of the part, the timbre of his voice is, especially in the upper register, too close to a tenor sound for the essential contrast. When Death finally stands before Savitri, or grants her the boon with which she tricks him, there is too great a sense of him being some alter ego of Satyavan—and I do not believe that there is a subtle eschatological point being made here. Philip Langridge is a superb Satyavan: he seems to be singing better and better these days, with stronger timbre and greater range of colour in a voice that was always fine and true. As always, it is an immensely intelligent performance. Felicity Palmer, now established as a mezzo-soprano, is no less admirable. She is responsive to the wonderful opening dialogue between Savitri and the slowly approaching figure of Death, when her vocal line seems to be propelled by Death's melody in another key without being attached to it; she is rich and tender with Satyavan; she has all the strength and the ringing tone for her triumph over Death. Perhaps I may be allowed to recall her 1970 Kathleen Ferrier Prize, when I sat on the panel with, among others, Dame Janet Baker, whose delight in this new singer was open and generous; Palmer now seems set to follow in this great tradition.
There is extra interest in this record in Colin Matthew's orchestration of the little-known and grossly undervalued set of Humbert Wolfe songs. Possibly the poetry has kept them out of the public eye, but they are truly remarkable songs, among the most original pieces Holst ever wrote. Matthews will indeed have done the composer a service if this loving enterprise helps to put them into renewed and wider circulation. His orchestration would, I think, have satisfied Holst, which is high praise.'
These are not important points. Interest attaches more to the performances, about which I have only one reservation. This concerns Stephen Varcoe's performance of Death. Beautifully as he sings it, with a firm yet flexible line and a proper understanding of the part, the timbre of his voice is, especially in the upper register, too close to a tenor sound for the essential contrast. When Death finally stands before Savitri, or grants her the boon with which she tricks him, there is too great a sense of him being some alter ego of Satyavan—and I do not believe that there is a subtle eschatological point being made here. Philip Langridge is a superb Satyavan: he seems to be singing better and better these days, with stronger timbre and greater range of colour in a voice that was always fine and true. As always, it is an immensely intelligent performance. Felicity Palmer, now established as a mezzo-soprano, is no less admirable. She is responsive to the wonderful opening dialogue between Savitri and the slowly approaching figure of Death, when her vocal line seems to be propelled by Death's melody in another key without being attached to it; she is rich and tender with Satyavan; she has all the strength and the ringing tone for her triumph over Death. Perhaps I may be allowed to recall her 1970 Kathleen Ferrier Prize, when I sat on the panel with, among others, Dame Janet Baker, whose delight in this new singer was open and generous; Palmer now seems set to follow in this great tradition.
There is extra interest in this record in Colin Matthew's orchestration of the little-known and grossly undervalued set of Humbert Wolfe songs. Possibly the poetry has kept them out of the public eye, but they are truly remarkable songs, among the most original pieces Holst ever wrote. Matthews will indeed have done the composer a service if this loving enterprise helps to put them into renewed and wider circulation. His orchestration would, I think, have satisfied Holst, which is high praise.'
Holst Savitri; Songs
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