Reimann: Lear
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Composer: Aribert ReimannConductor: Gerd Albrecht
Orchestra: Bayerisches Staatsorchester
Performer: Gerhard Auer
Performer: Dietrich Fischer-Dieskau
Performer: Julia Varady
Performer: Rolf Boysen
Performer: Helga Dernesch
Performer: Colette Lorand
Edition: Music CD
Format: Original recording remastered
CD Release Date: 2000-07-18
Music Label: Deutsche Grammophon
Soundtracks:
Music CD 1
- Lear - Part One, Scene One: 'Wir haben euch hierher befohlen' (Lear, Goneril, Cordelia, Regan)
- Lear - Part One, Scene One: 'Ich kenne deine Schuchternheit' (Lear, Cordelia, Kent)
- Lear - Part One, Scene One: 'Die entartete Schwester' (Regan, Goneril, Cordelia, Edmund, Edgar, Narr)
- Lear - Part One, Scene One: 'Das Alter hat den Vater sehr verandert' (Goneril, Regan, Narr)
- Lear - Part One, Scene One: 'Mein Bruder Edgar' (Edmund, Edgar)
- Lear - Part One, Scene One: Zwischenspiel I - Interlude I: 'Ist nicht das Alter lustig' (Chor)
- Lear - Part One, Scene Two: 'Sauft, fresst, reisst Witze!' (Lear, Narr, Kent, Chor)
- Lear - Part One, Scene Two: 'So geht es nun' (Goneril, Regan, Kent, Lear)
- Lear - Part One, Scene Two: 'Grasmucke' (Narr, Lear, Goneril, Regan)
- Lear - Part One, Scene Two: 'Was steht ihr da und glotzt?' (Lear, Regan, Goneril)
- Lear - Part One, Scene Two: Zwischenspiel II - Interlude II
- Lear - Part One, Scene Three: 'Blast, Winde, sprengt die Backen!' (Lear, Narr, Kent)
- Lear - Part One, Scene Three: Zwischenspiel III - Interlude III (Vocalise) (Edgar)
- Lear - Part One, Scene Four: 'Habe ich mein Leben retten konnen' (Edgar)
- Lear- Part One, Scene Four: 'Hier ist der Platz' (Lear, Narr, Kent, Edgar, Chor)
- Lear- Part One, Scene Four: 'Doch Ratten und Mause' (Edgar, Kent, Lear, Narr)
- Lear- Part One, Scene Four: 'Sie sollen Regan den Lieb aufscheiden' (Lear, Narr, Kent, Edgar, Chor))
- Lear - Part Two, Scene 1: 'Edmund, wir fingen deinen Vater ein' (Regan, Goneril, Edmund)
- Lear - Part Two: Scene Two, Scene Three: Scene Two: 'Es fliesst viel Blut' (Goneril, Edmund) - Scene Three: 'Man fand den Vater rasend wie das emporte Meer' (Cordelia)
- Lear - Part Two, Scene Four: 'Welt, Welt o Welt! Wer kann sagen: Ich bin der Elendeste?' (Edgar, Goneril)
- Lear - Part Two, Scene Four: Zwischenspiel IV - Interlude IV
- Lear - Part Two, Scene Five: 'Wann kommen wir zum Gipfel dieser Hohe?' (Lear, Edgar)
- Lear - Part Two, Scene Five: Zwischenspiel V - Interlude V
- Lear - Part Two, Scene Six: ''Mein lieber Vater!' (Cordelia, Lear)
- Lear - Part Two, Scene Seven: 'Der Konig und Cordelia gefangen' (Edmund, Cordelia, Lear)
- Lear - Part Two, Scene Seven: 'Du hast die Schlact gewonnen' (Edmund, Regan, Goneril, Edgar)
- Lear - Part Two, Scene Seven: 'Weint!' (Lear, Edgar)
Music reviews of Reimann: Lear
Music Review: simply another Germanic masterwork of dramaturgy.
Rating: 5 Stars
Shakepeare's various dramas has never lended itself to the cloistered predictable world of opera. Many Opera Masters have tried and failed. Giuseppe Verdi tried his hand at "Lear", but he cut so much that his imagination left nothing with any resemblance to the Elizabethan master.Subsequently his Othello barely resembles the original. Only Benjamin Britten's "Midsummer Nights Dream" has been the only relatively successful adaptation. And that was cut to hell,with Acts eclipsing themselves. Shakepeare's voice is like a volcanic eruption of language,incredibly complex with "spider-webs" of poetic,cultural and narrative cross-referencing In contrast Opera's text(libretti) are usually simpleminded affairs. Libretti are simply vehicles for the voice only,for direct engaged singing. The level of it's contextual complexity should remain limited for that fact that this direct emotion becomes compromised with excessive poetic maessage. Hofmanstahl with Strauss tested the limits of this context by suggesting more poetic imagery as a means of enriching libretti. His "Die Frau ohne Shatten" has marvelous poetry. Dietrich Fischer-Dieskau had commissioned this from Reimann his well known piano accompanist, for the former's Song Recitals for which he had written some art songs previously to cement this creative union. Reimann's musical language is indeed engaging and sits profoundly in the Germanic orchestral and operatic tradition, from Berg, Hartmann, Zimmermann,Lachenmann an expressionist language filled with forbidding textures, deep pallettes of extended sonorities,long overwrought phrases of gutrenching graphic-like music,you can smell its blood. The characterizations are expressionists as well. Reimann had the courage to make this tale his own not tripping on the same time-honored mistakes of previous opera composers.This tale of an old self-conceited man wanting the affection his repulsive two daughters Regan and Goneril(names resemble veneral diseases) in exchange for his formidable kingdom, his own.Asking "how much do you love me?" The singing of his two daughters follows a constructed tone row for each imparting a sense of predictable pitches, a means of concretizing the music. These daughters sound grotesque with a high degree of ornament equivalent to the obnoxious manipulative fakery and narrow minded sensibilities they are to represent. Cordelia, the other Lear daughter is more honest,more straightforward. Lear himself portrayed by Fischer-Dieskau's light penetrating baritone is well suited. Although perhaps a basso profundo would have imparted more the age of this ancient remnant of the medieval world of roughly hewn animal coats with standing armies ready to kill gamesmanship or for bad language. The San Francisco Opera had mounted this successfully,more with an Asian ambience,well Kurosawa's ferociously violent "Ran" is also a high level depiction of this sad tale. Still I'd place this opera after Zimmermann's "Die Soldaten",or one of Karl Amadeus Hartmann's latter "Symphonies" for the sheer amount of contextual complexity,musical texture,construction and deep dramaturgy. It is not the kind of easy breeze easy opera, the post-modern world usually encourages,so stay awa! if you are a Philip Glass-ite aficionado,where you refuse to tax yourlistening habits.(I'm sorry perhaps there is more to Glass than meets the ear!) Here "Lear" demands much focused listening, draining your listening constitution in music and drama.
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