The Wedding of Camacho – Opera in two acts

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Tracklist

1.
Overture
00:00
2.
I. Duet - "Beglücktes Jugendleben"
00:00
3.
II. Trio - "Wie? Ihr wagt es hier vermessen"
02:02
4.
III. Aria - "Noch tröstet mich das Vorgefühl"
02:46
5.
IV. Duet - "So kehrest du wieder, Geliebter"
00:00
6.
V. Aria, Song - "Nur frischer Mut und klares Blut"
01:38
7.
VI. Chorus - "Viva Camacho, viva Quiteria, Bei Liebeln und Grübeln"
02:19
8.
VII. Septet with Chorus - "Laß mich noch einmal begrüßen"
00:00
9.
VIII. Chorus, Aria & Recitative - "Viva Camacho, viva Quiteria," "So scheid' ich denn von Haus und D
00:00
10.
IX. Aria - "Wer klopft so leise an die Tür?"
03:41
11.
X. Ensemble - "Dem sollen die Knochen im Liebe fliegen"
03:47
12.
XI. Finale - "Lasset euch winden, dunkle Zypressen" "Viva die irrende Ritteschaft"
12:53
13.
XII. Chorus & Aria - "Frisch die Hände nur gerühret" "Hat meine Nase mich nicht betrogen"
00:00
14.
XIII. Song - "Die schönste Braut im ganzen Land"
02:57
15.
XIV. Chorus & Ball - "Richtend mag das Spiel entscheiden - Bolero Fandango - Ha, Tigerbrut!"
09:21
16.
XV. Trio - "Was sollen mir die rätselhaften Worte?"
00:00
17.
XVI. Chorus - "Nun zündet an geweihte Kerzen"
00:00
18.
XVII. Ensemble - "Welche Stimme, welche Störung?"
00:00
19.
XVIII. Finale - "Wie? Betrogen?"
05:39

Description

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

Additional information

Artists

Editing

Bert van der Wolf

Genre

,

Label

Format

,

Type

, ,

Producer

Ted Diehl

Recording engineer

Bert van der Wolf

Composers

Recording date

September 1992

Recording location

Conservatory, Antwerp, Belgium

Analog to digital converter

dCS900

Recording format

PCM 44.1

Microphones

Bruel & Kjaer, Schoeps

Mixing console

Rens Heijnis Custom made

Mastering engineer

Bert van der Wolf

Mastering equiment

Sony digital Editor 3000

Digital to analog converter

Sony

Press reviews

Audio & Techniek

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

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. (…)

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 (…)

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 (…)

Opera Now

(…) This is well worth investigating (…)

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