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The Wedding of Camacho - Opera in two acts

Anima Eterna

Felix Mendelssohn

SKU: 5593

Year of release: 1993

1. Overture Felix Mendelssohn 06:24
2. I. Duet - "Beglücktes Jugendleben" Felix Mendelssohn 02:51
3. II. Trio - "Wie? Ihr wagt es hier vermessen" Felix Mendelssohn 03:21
4. III. Aria - "Noch tröstet mich das Vorgefühl" Felix Mendelssohn 04:06
5. IV. Duet - "So kehrest du wieder, Geliebter" Felix Mendelssohn 01:20
6. V. Aria, Song - "Nur frischer Mut und klares Blut" Felix Mendelssohn 02:18
7. VI. Chorus - "Viva Camacho, viva Quiteria, Bei Liebeln und Grübeln" Felix Mendelssohn 03:39
8. VII. Septet with Chorus - "Laß mich noch einmal begrüßen" Felix Mendelssohn 04:56
9. VIII. Chorus, Aria & Recitative - "Viva Camacho, viva Quiteria," "So scheid' ich denn von Haus und Dorf" Felix Mendelssohn 03:10
10. IX. Aria - "Wer klopft so leise an die Tür?" Felix Mendelssohn 05:40
11. X. Ensemble - "Dem sollen die Knochen im Liebe fliegen" Felix Mendelssohn 05:47
12. XI. Finale - "Lasset euch winden, dunkle Zypressen" "Viva die irrende Ritteschaft" Felix Mendelssohn 20:53
13. XII. Chorus & Aria - "Frisch die Hände nur gerühret" "Hat meine Nase mich nicht betrogen" Felix Mendelssohn 04:35
14. XIII. Song - "Die schönste Braut im ganzen Land" Felix Mendelssohn 04:16
15. XIV. Chorus & Ball - "Richtend mag das Spiel entscheiden - Bolero Fandango - Ha, Tigerbrut!" Felix Mendelssohn 15:21
16. XV. Trio - "Was sollen mir die rätselhaften Worte?" Felix Mendelssohn 08:13
17. XVI. Chorus - "Nun zündet an geweihte Kerzen" Felix Mendelssohn 03:00
18. XVII. Ensemble - "Welche Stimme, welche Störung?" Felix Mendelssohn 01:35
19. XVIII. Finale - "Wie? Betrogen?" Felix Mendelssohn 08:58
Total time: 110:31

About this album

Mendelssohn ‘s Camacho: an opera to see with your eyes closed The (lengthy) letter which Mendelssohn sent to his librettist on 16 January 1824 bears witness to his precocious knowledge of the principles of theatrical writing. One can hardly believe that the author of this letter was only 15 years old. If we are sceptical at first, then we are dumbfounded when we look at the score: the brilliant characterization of the various roles, the inventive writing of the inner voices (Mendelssohn had acquired a Bach’s copy of St. Matthew Passion at the end of 1823), and the professionalism of the orchestration. A present-day performance, one with the instruments as Mendelssohn would have known it, shows the orchestration in an even more remarkable light, because the linear character of the string writing becomes clearer and the winds sound more colorful, even forming their own orchestra-within-an-orchestra, far more than would be the case in a performance with ‘modern’ instruments. The sixteen-year-old Mendelssohn drew more inspiration from the libretto than it actually contained. The music far overreaches the dramatic limitations of the text. Not only the solo and chorus parts, but also the orchestra are, as a result, so expressive that a careful staging of the piece would not even add that much to the total effect. The neglect with which this work has been treated and its resulting unfamiliarity are typical mistakes of the kind sometimes made by history; ‘Camacho’ may well be the most brilliant opera ever written by a youthful composer. It is an opera to see with your eyes closed. Jos van Immersed, august 1993

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Reviews

Audio & Techniek

(...) Verrukkelijke muziek, uitstekend opgevoerd(...) (...) Misschien wel de meest briljante opera, die ooit door een jeugdige componist is geschreven (...)

Detroit Free Press

(...) this recording reveals the astonishingly mature gifts of the adolescent Mendelssohn, with masterful orchestration, lyrical arias and ensembles and stirring choruses.

La Marseillaise

(...) Jos van Immerseel fait merveille au pupitre de l'orchestre et de solistes faisant assaut d'intelligence et humoreuse musicalit (...)

De Concertzender

(...) Solisten van formaat, een goed koor, alsmede een prachtig klinkend orkest zorgen voor een enorme aanwinst (...)

Opera Now

(...) This is well worth investigating (...)

Knack

(...) En brok ontdekking, hoog muzikaal niveau, de juiste stemmen bij de betreffende karakters en vooral homogeniteit. Een voorbeeldig orkest en de koren zijn om te zoenen (...)

FonoForum

(...) Die Aufnahme ist mustergltig; ihre Frische, Munterkeit und Verwandlungslust sind zauberhaft, das Sngerensemble ideal abgestimmt, das Orchester ausgezeichnet. Jos van Immerseel dirigiert mit dem sinnvollen Bestreben, keine Phase unbeseelt zu lassen. (...)

Artists

Technical Specifications

Digital To Analog ConverterSony
Mastering EquimentSony digital Editor 3000
Mastering EngineerBert van der Wolf
Mixing ConsoleRens Heijnis Custom made
MicrophonesBruel & Kjaer, Schoeps
Recording FormatPCM 44.1
Analog To Digital ConverterdCS900
Recording DateSeptember 1992
Recording LocationConservatory, Antwerp, Belgium
EditingBert van der Wolf
Recording EngineerBert van der Wolf
ProducerTed Diehl