Zemlinsky: Eine Florentinische Tragödie Op. 16

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The vitality of Bertrand de Billy’s conducting and the richness of the Vienna Radio Symphony Orchestra’s playing in this 2010 concert recording are both extremely compelling. Wolfgang Koch provides... — Gramophone Magazine, June 2018 More…

Release Date: 12th Jan 2018
Catalogue No: C5325
Label: Capriccio
Length: 52 minutes

Record Review

17th February 2018

Recording of the Week
Opera

April 2018

Recording of the Month

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Zemlinsky: Eine Florentinische Tragödie Op. 16

Work length52:18

$17.00

$22.10

Wolfgang Koch (baritone), Heidi Brunner (soprano), Charles Reid (tenor)
ORF Vienna Radio Symphony Orchestra
Bertrand de Billy
Recorded: 20 May 2010
Recording Venue: Konzerthaus Wien, Austria

Overture (Live)

Track length4:37

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So langsam, Weib? (Live)

Track length2:00

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Ich heiße Guido Bardi (Live)

Track length2:22

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Wo ist mein Bündel? (Live)

Track length1:58

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Wackrer Simone, genug, ich bitte Euch (Live)

Track length2:56

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Bianca sag, stünde nicht dies kostbar edle Kleid dem Prinzen Guido gut? (Live)

Track length3:06

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Wie, wenn ich die weiße Bianca forderte? (Live)

Track length3:05

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Was gibt es Neues, mein Prinz? (Live)

Track length5:03

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Wie er gleich einem schalen Krämer spricht! (Live)

Track length3:31

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Genug! (Live)

Track length5:20

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Was meint der Fleck hier auf dem Tuch? (Live)

Track length2:30

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Holdsel'ge Bianca, der schale Krämer langweilt mich (Live)

Track length6:13

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Simone, jetzt muss ich nach Hause gehn! (Live)

Track length1:44

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Ei, welch ein Schwert! (Live)

Track length2:17

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Bianca, hol mein Schwert! (Live)

Track length2:03

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Narr, nimm mir vom Hals deine Würgefinger! (Live)

Track length1:17

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Und jetzt zu dir! (Live)

Track length2:16

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Oscar Wilde’s A Florentine Tragedy was written in 1893, but remained a fragment when the author was arrested. But the material was in the air, so to speak, and Alexander von Zemlinsky, who may have had Richard Strauss’ recourse to Wilde’s Salome in mind and hoped for a similar success with A Florentine Tragedy, finally converted the play into a one-act opera. Puccini had also been interested in the material, but the publisher Tito Ricordi advised him against it. Other potential takers also included Ferruccio Busoni who also found the ending too hackneyed. However, such alleged triviality did not deter his colleague Alexander von Zemlinsky, who celebrated success with his opera. Alban Berg admired the work so much that musical parallels to the Florentine Tragedy can be found in his Wozzeck, premiered eight years later.

Reviews

June 2018

The vitality of Bertrand de Billy’s conducting and the richness of the Vienna Radio Symphony Orchestra’s playing in this 2010 concert recording are both extremely compelling. Wolfgang Koch provides a committed and well-rounded portrayal of Simone…This is a distinguished addition to the discography of this rewording late-Romantic opera.

April 2018

Koch is an intelligent musician and a pleasure to hear. Heidi Brunner turns her somewhat blousy mezzo-soprano to excellent account, lending Bianca blood-lusty force rather than beauty of tone, while the tenor Charles Reid makes a properly ardent, youthful and callow Guido. Capriccio has been a keen advocate for Zemlinsky, and sonically this is one of its best CDs, the forward placing of the singers ensuring verbal clarity at only the occasional expense of instrumental detail.

Opera Now February 2018

The hugely accomplished but lurid music is akin to the most excessive and obvious Straussian effects written larger and even purpler. Bertrand de Billy conducts this live performance (Vienna, 2010) with unabashed passion and brio. ...anyone interested in Strauss’s oft-overshadowed contemporaries will find this worth investigating and the recording makes a strong case for the piece in all its gory glory.

Zemlinsky: Eine Florentinische Tragödie Op. 16

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