Despite occasional successful stagings of this opera, it is concert performances that stir up the feelings of audiences most. I have witnessed many times in
performances of this psycho-drama that listeners, staring at the faces of the two singers for sixty minutes, or following a surtitled or printed libretto translation
during Bartók’s deeply emotional music, were confronted with themselves. The prologue is very important; this is in fact a story about us. Usually, after the opera has
ended, discussions break out, dividing men and women. Whereas everybody seems to understand why Judit cannot resist her desire to open all the doors, Bluebeard’s
character remains controversial. Is it right or wrong, necessary or unnecessary to keep certain doors closed? Why does he need to lock Judit up after she has discovered his secrets? Is the blood real, or does it exist only in Judit’s fearful imagination? This Bluebeard is not a killer, even if he has a bad reputation and Judita sees blood
everywhere. All the earlier wives are alive in his heart, behind closed doors. Bartók, who was himself a closed, shy man, seems to have been fascinated by strange-looking characters who turn out to feel endless love. This links Bluebeard to the Miraculous Mandarin.
I am very grateful to Mr Vikárius and Mr Somfai of the Bartók archive in Budapest, who drew my attention to a number of errors in the printed score which we
have been able to correct in this new recording. I also want to thank the Budapest State Opera, who lent us the very rare keyboard xylophone which gives the torture chamber scene its authentic colour.
Total time: 00:55:18
|Original Recording Format|
Hein Dekker, Erdo Groot
Italian Institute, Budapest
|Recording Type & Bit Rate||
|Release Date||May 5, 2014|
Fischer and his superb orchestra are overwhelming at the climaxes, aided by the outstanding sonics from Budapest’s Italian Institute. The brass-led outbursts at the opening of the fifth door (track 7) will make your hair stand on end. (…)The voices are naturally integrated into the orchestra, always intelligible and never lost to even the great climaxes.
American Record Guide
(…) This is one of the best recordings I’ve heard of this opera, not only because of the sound but also because Ivan Fischer turns out to be an excellent conductor of challenging work. (…)
(…) Channel’s re-mastering is deeper and more revealing than the original (…) It’s good to have this reading back, in better shape than ever, passionate, intense, and beautifully remastered.
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