The Distant Sound

This afternoon I went out in the monsoon-like weather to attend a concert performance of Franz Schreker's  rarely performed opera DIE FERNE KLANG (The Distant Sound) presented at Avery Fisher Hall by Leon Botstein and the American Symphony Orchestra. I think sometimes the reason operas fall into the 'rarely performed' category is: we simply don't really care about the characters or the situations in which they find themselves. That, I believe, is also the reason that  many contemporary operas fail: they just don't strike an emotional chord.   Over the years we continue to weep when Mimi dies; to watch with joy as Susanna & Figaro outwit the Count; to be moved by Wotan's farewell to Brunnhilde. But did we really care about the girl who gets murdered in AMERICAN TRAGEDY? Or whether the FIRST EMPEROR gets his anthem?   Or whether Aithra's fantastical machinations help save Helen of Troy's marriage in EGYPTIAN HELEN, another rarity?  Not really, at least not more than just in passing. And today in FERNE KLANG, the twists and turns in the love affair between the composer Fritz and his girlfriend Grete just don't seem all that interesting.

Musically, the opera is pretty exciting; glimmers of Strauss, Korngold & Zemlinsky can be heard as well as roots tracing back to Wagner. It is tonal and melodious, with a large orchestra skillfully and sometimes thrillingly employed. Luminous strings, darkish & mellow winds, lively percussion, magical celesta passages woven in, double harps. The ear is constantly allured. When Grete has become one of the most desired courtesans in Venice (Act II) a lavish party is held at the Casa di Maschere at which a 'mini-orchestra' of mandolins, flutes and solo winds add another texture. The chorus joins in the aural mix at various points. 

The roles of Fritz and Grete are demanding in range and power, since they must often express their passions over the large orchestra. Maestro Botstein did not always give his singers the benefit of supporting them by keeping the volume under control; the voices were sometimes covered. Nevertheless, tenor Robert Kunzli and soprano Yamina Maamar were both pretty thrilling as they seized their big vocal moments with beauty of tone and expression as well as considerable power. Mr. Kunzli, who sounded sometimes lyric and sometimes helden and always vividly attuned to the emotions, would seem to me like a viable candidate for the Met's tenor ranks. He sang the role tirelessly and with clarity and warmth. Ms. Maamar was an audience favorite: a tall and attractive woman with strong presence. Her bio indicates she has moved from mezzo to soprano and judging from her performance today the transition seems to have been a success. Her full, expansive lyrical sound was impressively modulated with full-bodied high notes. Her long monologues near the end of Act I and at the opening of Act II were really beautiful.

Two fine baritones, John Hancock and Weston Hurt, excelled with powerful & characterful singing. Marc Embree also made a strong contribution, though the two mezzos were less impressive. Ryan McPherson was a pleasingly-sung Chevalier in the Venetian scene, and another tenor, Joseph Palarca, managed to make an impression in his brief lines.

The highlight of the score was the long orchestral intermezzo in Act III where Mr. Botstein and the musicians reveled in the  textures and changing sonorities Schreker provided. The opera ended weakly, though, with Grete speaking her final line ("Fritz...what's wrong?"). I only know of one opera than ends convincingly with spoken words: PAGLIACCI.

Comments

[Dmitry]

"La commedia e finita." We're used to hearing Canio speak that line. But it is actually supposed to be Tonio! The substitution is typical of tenors: they get everything! Personally I think Tonio saying it makes more sense. Canio should be too distraught to say anything, and since Tonio started the opera by addressing the audience it makes sense that he finish it by doing the same.

I've never heard "Die Ferne Klang," but it sounds quite interesting musically.

[Dmitry]

Incidentally, I know of only one recording that gives the last line back to Tonio: Muti's on Philips with Pavarotti and Pons.

[philip]

Yes, I realized that the line had gone from Tonio to Canio.

Did Berg assign actual musical notes to "Hop, hop"...at the end of WOZZECK?

And I think GIANNI SCHICCHI ends with spoken words, too. Which is possibly one reason why I don't like it very much...

[Dmitry]

Yes, Schicchi does deliver the final lines by speaking. I love the opera!

There's a story somebody told me once about Karl Bohm rehearsing "Wozzeck" at the Met in the 1960s, when they did it in English. The kid who was playing Marie and Wozzeck's son was being coached by Bohm on the final line and kept saying "Hap hap. Hap hap." Bohm said, "No no, it's 'Hop hop.'" The kid said "Hap hap." Bohm corrected him again and said why do you keep saying "Hap hap?" To which the kid replied: "But I thought we were doing it in English?"

[philip]

The English translation of hop-hop is hap-hap???

[Dmitry]

He was pronouncing "hap" like "h-up." And he was a little kid, Philip!

[philip]

Now there's a new English version: 'Hip-hop, hip-hop'...

[Chalkenteros]

Finally another blog reaction to DFK. It's funny that we responded so differently to both the emotional impact of the opera and to the effectiveness of the final moment.

For the record, I stop caring about Mimi at the end of act 3. Act 3 never really grabs me. And I couldn't care less, either, about Helena or the Emperor's anthem. In fact, the only operatic character that I think I really care about is the Marschallin.

[philip]

I suppose it depends on who is singing Mimi...if it is G-D or RAS she can't die quickly enough!