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Weinberg: Der Idiot, Op. 144

Juhan Tralla (Myschkin), Ludmila Slepneva (Nastassja Filippowna), Lars Moller (Lebedjew), Bartosz Urbanowicz (Epanchin), Elzbieta Ardam (Epanchina), Anna-Theresa Moller (Aglaja), Tamara Banjesevic (Alexandra), Uwe Eikötter (Ganya) & Tatjana Rjasanova (Warja)

Soloists & Orchestra of Mannheim...

The Idiot has a slow-burn quality, and the longer you stay the course, the more you are likely to realise that Weinberg's unflashy, flexible yet consistent harmonic language, with its Brittenish... — Gramophone Magazine, February 2016 More…

Release Date: 16th Oct 2015
Catalogue No: PC10328
Label: Pan Classics
Length: 3 hours 28 minutes

Weinberg: The Idiot, Op. 144, Act I

Work length54:57

$13.00

$16.90

Juhan Tralla (tenor), Lars Møller (baritone), Steven Scheschareg (baritone), Ludmila Slepneva (soprano), Uwe Eikötter (tenor), Bryan Boyce (bass-baritone), Bartosz Urbanowicz (bass-baritone), Anne-Theresa Møller (mezzo-soprano), Tamara Banješević (soprano)
Orchester des Nationaltheaters Mannheim, Opernchor des Nationaltheaters Mannheim
Thomas Sanderling
Recorded: 12 and 31 January 2014
Recording Venue: Live recording, National Theatre of Mannheim, Mannheim, Germany

Act I: Prelude

Track length1:45

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$1.30

Act I Scene 1: Well? Cold? (Rogoschin, Furst, Lebedjew)

Track length6:24

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$1.30

Act I Scene 1: I can't live without her, I can't (Rogoschin, Lebedjew)

Track length3:35

$1.00

$1.30

Act I Scene 1: Is it you, Ganya? (Nastassja Filippowna, Ganja, Rogoschin, Lebedjew, Furst)

Track length7:29

$2.00

$2.60

Act I Scene 2: Will seventy thousand be enough? (Tozkij, Jepantschin, Lebedjew, Nastassja Filippowna, Furst, Aglaja)

Track length9:40

$2.00

$2.60

Act I Scene 2: Do you like her, Prince? (Ganja, Furst, Jepantschin, Jepantschina, Aglaja, Alexandra)

Track length4:42

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$1.30

Act I Scene 2: I remember… I was taken away from Russia (Furst, Jepantschina, Aglaja)

Track length5:07

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Act I Scene 2: You devils! You money-monger! (Rogoschin, Lebedjew, Geldverleiher)

Track length2:49

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$1.30

Act I Scene 2: As I saw your faces, my heart became lighter (Furst, Jepantschina, Alexandra)

Track length7:00

$2.00

$2.60

Act I Scene 2: Just one word and I'm saved! (Ganja, Aglaja, Furst)

Track length6:26

$1.00

$1.30

The Idiot, Op. 144, Act II

Work length53:22

$9.00

$11.70

Tatjana Rjasanova (soprano)
Recorded: 12 and 31 January 2014
Recording Venue: Live recording, National Theatre of Mannheim, Mannheim, Germany

Act II Scene 3: The Truth! The Truth! (Furst, Warja, Ganja, Nastassja Filippowna)

Track length5:50

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$1.30

Act II Scene 3: Nastassya Filippovna (Furst, Nastassja Filippowna)

Track length6:14

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$1.30

Act II Scene 3: Hello, Ganka! (Rogoschin, Geldverleiher, Ganja, Nastassja Filippowna, Lebedjew, Warja, Furst)

Track length6:56

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Act II Scene 3: Prince, I played it badly, would you forgive me! (Ganja, Furst)

Track length4:16

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Act II Scene 4: My soul is on fire (Lebedjew, Tozkij, Nastassja Filippowna, Jepantschin, Furst, Ganja)

Track length6:28

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$1.30

Act II Scene 4: The Prince is the first person in my entire life that I believed in! (Nastassja Filippowna, Rogoschin, Tozkij, Jepantschin, Lebedjew, Furst)

Track length6:56

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$1.30

Act II Scene 4: Am I a princess now? (Nastassja Filippowna, Rogoschin, Furst, Ganja, Jepantschin, Lebedjew, Tozkij)

Track length6:20

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$1.30

Act II Scene 4: Why are you crying? (Nastassja Filippowna)

Track length3:47

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Act II Scene 4: I am ready, my queen! (Rogoschin, Lebedjew, Jepantschin, Nastassja Filippowna, Tozkij)

Track length6:35

$1.00

$1.30

The Idiot, Op. 144, Act III

Work length52:54

$13.00

$16.90

Jeongkon Choi (tenor), Elzbieta Ardam (mezzo-soprano)
Recorded: 12 and 31 January 2014
Recording Venue: Live recording, National Theatre of Mannheim, Mannheim, Germany

Act III Scene 5: Rumors, rumors! (Lebedjew)

Track length2:28

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$1.30

Act III Scene 5: Parfyon, perhaps I came at a bad time? (Furst, Rogoschin)

Track length5:36

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Act III Scene 5: Knife grinder, knife grinder! (Messerschleifer, Rogoschin, Furst)

Track length4:32

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Act III Scene 5: I feel so guilty! (Furst)

Track length5:06

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Act III Scene 6: How is the Prince? (Nastassja Filippowna, Lebedjew, Furst, Aglaja, Rogoschin)

Track length5:21

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Act III Scene 6: Why do you stand on the tips of your toes? (Furst, Lebedjew)

Track length1:26

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Act III Scene 6: They come… They come… (Lebedjew, Jepantschina, Furst, Aglaja, Alexandra, Jepantschin)

Track length7:30

$2.00

$2.60

Act III Scene 6: Oh my God! How do I feel! (Jepantschina)

Track length2:38

$1.00

$1.30

Act III Scene 6: Come together! (Lebedjew)

Track length1:30

$1.00

$1.30

Act III Scene 7: I will be waiting for you in the park at seven o'clock in the morning (Furst, Aglaja)

Track length3:13

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Act III Scene 7: I have to change my life (Aglaja, Furst)

Track length6:48

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$1.30

Act III Scene 7: Oh, my God! Why is this happening? (Furst, Lebedjew, Nastassja Filippowna, Rogoschin)

Track length6:46

$1.00

$1.30

The Idiot, Op. 144, Act IV

Work length46:50

$10.00

$13.00

Recorded: 12 and 31 January 2014
Recording Venue: Live recording, National Theatre of Mannheim, Mannheim, Germany

Act IV Scene 8: I don't understand anything! (Jepantschina, Jepantschin, Aglaja, Alexandra, Furst, Lebedjew)

Track length5:37

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$1.30

Act IV Scene 8: They write… They write… (Lebedjew, Furst, Aglaja)

Track length8:46

$2.00

$2.60

Act IV Scene 9: There is no one home, except the four of us (Rogoschin, Aglaja, Nastassja Filippowna, Furst)

Track length6:15

$1.00

$1.30

Act IV Scene 9: Just look at this young lady! (Nastassja Filippowna, Aglaja, Furst)

Track length8:06

$2.00

$2.60

Act IV Scene 9: Ah, my prize, my prize (Rogoschin, Lebedjew, Nastassja Filippowna, Furst)

Track length5:28

$1.00

$1.30

Act IV Scene 10: Nowhere to go… have nowhere to go (Furst, Messerschleifer, Rogoschin)

Track length3:54

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Act IV Scene 10: Enter (Rogoschin, Furst)

Track length2:00

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Act IV Scene 10: Now what, Parfyon? (Furst, Rogoschin)

Track length6:44

$1.00

$1.30

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About

The Polish-Jewish composer Mieczyslaw Weinberg (1919-1996), who lost his family due to National Socialism, fled to Russia and was again later subjected to Stalinist persecution, was one of the unjustly forgotten composers of the 20th century until recently. He left behind a considerable oeuvre, and with an impressive renaissance during recent years, including an acclaimed production of 'The Passenger' at ENO, he is now considered one of the most important composers of the Soviet Union alongside Shostakovich and Prokofiev.'The Idiot', based on the novel of the same title by Dostoyevsky, is Weinberg's final opera, composed during the mid-1980s. The plot: the young Prince Myshkin returns to St Petersburg, penniless after many years spent in a Swiss clinic. On the train he meets the rich Rogoshin, who is driven by a dark passion for Nastassia, a 'fallen' woman. The unstable Prince, lacking contact with reality due to his illness and naively believing in the goodness of human beings - portrayed as a kind of Russian Don Quixote, also falls in love with Nastassia, but in a different way: he wishes to save her. Between her and the young Aglaia, he himself becomes part of a network of material and sexual dependences, wounds, obsessions and the incapability of forming a relationship, finally ending in Rogoshin's murder of Nastassia. Myshkin freezes in the arms of the murderer in a state between madness and tenderness.This live recording from the Mannheim National Theatre in 2014 documents the production with which Weinberg's 'Idiot' had received its world premiere one year previously in Mannheim, unanimously celebrated by audiences and critics alike.The renowned specialists' journal Die Opernwelt named the production 'World premiere of the year'. This is one more successful Weinberg premiere by Thomas Sanderling in what may turn out to be a whole series.

Artists

Soloists & Orchestra of Mannheim National Theatre, Thomas Sanderling

Reviews

February 2016

The Idiot has a slow-burn quality, and the longer you stay the course, the more you are likely to realise that Weinberg's unflashy, flexible yet consistent harmonic language, with its Brittenish command of extended tonality, provides a superb mirror of Myshkin's tortured soul…Thomas Sanderling's unhurried, solicitous conducting pays handsome long-term dividends

July 2016

An exemplary balance between voices and orchestra is a striking feature of Weinberg’s score, and under Thomas Sanderling’s masterful direction it is thrillingly reproduced here … Of the excellent cast, the soprano Ludmilla Slepneva is the most impressive: her gorgeously voiced Nastassya Filipovna is a real joy.

Weinberg: Der Idiot, Op. 144

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