Reviews for CD 2315-16 Les Contes d'Hoffmann
A splendid night and its restoration on disc has been accomplished with skill and care . . . Jonathan Woolf - MusicWeb
MusicWeb November 2004
Jacques OFFENBACH(1819-1880)
Les Contes d’Hoffmann
René Maison (tenor) - Hoffmann
Vina Bovy (soprano) – Olympia, Giulietta, Antonia, Stella
Laurence Tibbett (baritone) - Lindorf, Coppelius, Daperutto, Miracle
Angelo Badà (tenor) – Andres, Cochenille, Pitichinaccio, Frantz
Irra Petina (soprano) – Nicklausse
Norman Cordon (baritone) – Schlemil
Louis d'Angelo (baritone) – Spalanzani, Crespel
Anna Kaskas – Mother
Arnold Gabor – Luther
Wilfred Engelman – Hermann
George Rasely - Nathanaël
Chorus and Orchestra of the Metropolitan Opera/Maurice Abravanel
Recorded at the Metropolitan Opera House, New York, 23 January 1937
GUILD GHCD 2315/16 [64.55 + 79.41]
This was a splendid night at the Met’s French Wing. The two leads were both Belgian – the veteran René Maison, or so we like to think of him but he was actually only
forty-two at the time - and Ghent-born Vina Bovy who was in the middle of her
very short two-year engagement at the Met. In later life she became Director of
the Ghent Royal Opera. Then there’s Tibbett whose French pronunciation is bluff
to say the least but whose powerful projection is secure at all times. The
Italian comprimario Angelo Badà makes a fine showing and the Russian Irra Petina
(who lived to be ninety-three, dying over a decade ago) spent many years at the
Met and was a reliable and able musician. Supervising all is Maurice de (the
de was dropped later) Abravanel, at one time the youngest ever conductor at
the Met.
Firstly, the sound quality. It’s good: maybe slightly recessed and occasionally scuffy but basically unproblematic. There are moments of aural distortion and other
ancillary concerns that should be noted. In the Prologue (track 4 Dans les
roles) there’s a bit of a blizzard of acetate damage for a little while and
there’s more of the same and a complete break up in Act I Tu me fuis?
(Track nineteen) and more scuffs in Act II Morbleu! (CD II track 3).
There are in fact similar small occurrences throughout but veterans of operatic
broadcasts of this vintage will have heard much, much worse. The pleasures far
outweigh the problems. This is a set that was released not so long ago on Naxos
and derived from Bovy’s acetates; this one comes from an alternative source,
NBC’s own 16" transcription discs. The Guild, as is company wont, also includes
commentaries and curtain calls, giving period flavour to the proceedings. It’s
something I happen to like but other companies, such as Naxos, generally don’t.
Maison floats his top notes with great skill (Il etait une fois) but can get
Wagnerian metal into the voice when required as in Je vous dis moi to
conclude the Prologue. The voice itself I find exceptionally sympathetic in this
role – forward, focused, subtly deployed. Bovy is superb – it’s remarkable to
think her Met career was so short. Her dynamics in Les oiseaux are
compellingly deployed, the technique is cast iron and the trill is immaculate;
her impersonation is theatrically and vocally highly impressive. Listen to their
duet in Act II Malhereux, mais tu ne sais donc pas where helped by the
conductor’s energising warmth the two display increasing urgency of declamation.
Maison’s ardency is matched by Bovy’s clarity and incremental increase in
theatrical pressure; really fine musicianship. Tibbett takes a little time to
warm up and he tends to bark early on but grows in command and menace and by the
time we reach Pour conjurer le danger in Act III he’s exhibiting all his
accustomed power and theatrical menace. Angelo Badà raises a laugh with his
hoarse games as Frantz in his Act III Jour et nuit and the excellent
Petrina impresses with her immaculate trill and clarity of projection. It’s a
shame that the recording tends to cover Bovy’s exquisitely soft singing toward
the end of Act III but certainly enough remains to mark this down as a memorable
impersonation.
As I said this was a splendid night and its restoration has been accomplished with skill and care, notwithstanding the obvious aural considerations. And how amazing, and
regrettable, is the fact that the two leads have sunk so low in the race memory
of operagoers. As we have discovered from Maison’s Wagner at the Met it is high
time for a reappraisal.
Jonathan Woolf
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