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Tiefland
I was completely unfamiliar with this opera, aside from the soprano aria "Ich weiß nicht, wer mein Vater war," and had no idea what to expect. After listening to it with the libretto in hand, I realized that no expectations could have prepared me for such a unique and enigmatic work. Written in 1903, the opera is fascinating in its ability to bridge the 19th and 20th centuries. Its composition weaves together Wagnerian sweeping romanticism, hints of Straussian expressionism, and touches of Italian verismo.
The story revolves around a disgraced woman, Marta, who ultimately finds redemption through the man she loves. However, Marta is far from a stereotypical 19th century female martyr. The libretto is strikingly explicit about the indignities she endured, growing up with a blind mother who "never knew who the father was." What initially seems like a romantic-era pastorale gradually evolves into something closer to 20th century expressionism.
This performance is exceptional. By 1964, Astrid Varnay was already nearing the end of her "soprano era", but Marta remained well within her range. She delivers a deeply moving portrayal of Marta's inner torment and self-loathing. Hans Hopf is in excellent form. The lyrical nature of the role suits him perfectly, and the pitch issues that plagued some of his other performances are absent here.
Track List
Prologue
1. Ohe! Ohe!
2. Wie ich nun gestern Abend in die Hütte liege
3. Ist Pedro nicht hier?
4. Mutter Gottes! War die schön!
5. Meinem Glücke nach! Nimm dich der Herde an
2. Wie ich nun gestern Abend in die Hütte liege
3. Ist Pedro nicht hier?
4. Mutter Gottes! War die schön!
5. Meinem Glücke nach! Nimm dich der Herde an
Act I
6. Sag uns doch, ist es wahr?
7. An einem Abend war's
8. Geht alle fort! Ich will niemanden sehen
9. Sein bin ich, sein!
10. Er kommt! Wo kommt er, wo?
11. Marta!.. Tu mit mir, was du willst, nur eines nicht
12. Er will kein Stutzer sein!
13. Was suchst du noch, Moruccio?
14. Das Fest ist vorbei
15. Zum Reden zwing mich nicht
7. An einem Abend war's
8. Geht alle fort! Ich will niemanden sehen
9. Sein bin ich, sein!
10. Er kommt! Wo kommt er, wo?
11. Marta!.. Tu mit mir, was du willst, nur eines nicht
12. Er will kein Stutzer sein!
13. Was suchst du noch, Moruccio?
14. Das Fest ist vorbei
15. Zum Reden zwing mich nicht
Act II
16. Die Sterne gingen zur Ruh
17. Da ist Marta. Nun will ich gehen.
18. Wo willst du hin?
19. Ich weiss nicht wer mein Vater war
20. Da ist Tomasso. Er muss reden.
21. Das Essen ist da!
22. Ich soll dich töten? Dich, die ich liebe?
23. Recht guten Tag! Was gibt es neues?
24. Hüll in die Mantille dich fester ein
25. Nun hab ich nichts als dich mehr auf der Welt!
17. Da ist Marta. Nun will ich gehen.
18. Wo willst du hin?
19. Ich weiss nicht wer mein Vater war
20. Da ist Tomasso. Er muss reden.
21. Das Essen ist da!
22. Ich soll dich töten? Dich, die ich liebe?
23. Recht guten Tag! Was gibt es neues?
24. Hüll in die Mantille dich fester ein
25. Nun hab ich nichts als dich mehr auf der Welt!
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4.7
Based on 3 reviews
✓ Top Reviewer
Romania
✓ Verified Buyer
United States
Will the Met Ever Revive This Great German Verismo Opera Again?
George Jellinek and I were the greatest advocates to be found for this wonderful opera. I'd received it as a Christmas present in 1953 (I'd asked for it) and absolutely fell in love with it on the spot. I've never fallen out of love with it. The part of Marta is a soprano role which, to my way of thinking, had its best-ever exponent in the mezzo voice of Marguerite Kenney in that 1953 SPArecording. Here, we get Astrid Varnay, who was working her way into mezzo roles around this time, and as with everything she does, she creates a full-fledged character from beginning to end. Hopf was a famous Pedro (he recorded, separately, a complete commercial version of the opera and a highlights disc), and if he doesn't sound like a youthful mountain shepherd, he at least sounds like the dramatic tenor needed for the role. The surprise here is Randolph Symonette, a baritone with a solid bass bottom, which is perfect for the role of the arch villain Sebastiano. He's terrific and quite evil from beginning to end. This is an excellent performance, but although clear, the sound is somewhat distant so that you can't get the full effect of d'Albert's near Straussian (and very beautiful) orchestration. I'd advise picking this up if you don't know the opera, and then acquiring a solid stereo version, either the one with Schock, Isabel Strauss and Gerd Feldhoff or the one with Heinz Hoppe, Hanne-Lore Kuhse and Ernst Gutstein.
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✓ Verified Buyer
France
