RECORDINGS 155

Wozzeck. Alban Berg

Wbzzeck: Eberhard Waechter
Drum-major: Hermann WinUer
Andres: Horst Laubenthal
Captain: Heinz Zednik
Doctor. Alexander Malta
First Artisan: Alfred Sramek
Second Artisan: Franz Waechter
Idiot: Walter Wendig
Marie: Anja Silja
Margret: Gertrude John
A Soldier: Michael Pabst
Vienna Philharmonic Orchestra
Chorus of the Vienna State Opera
Christopb von Dohnanyi, conductor
London LDR 72007 (digital) (2 discs)

Alban Berg's Wozzeck holds such a firm position in the operatic world of the
twentieth century that a new recording of the opera is not normally an ex-
traordinary event. However, the recent (1981) recording on London is of such
superior quality in a number of respects that it is worthy of special attention.
Technically, this recording is superb, both with regard to recording tech-
niques and overall precision of performance. The digital process has produced
a quality of sound of exceptional brilliance and presence, in which every sig-
nificant detail of the score is dearly audible. The Schoenberg school in general
showed its concern for important melodic material through the dear marking
of both primary and secondary ideas (Haupt- and Nebenstimmen) in the score.
Berg's operas also reveal their reliance on the Wagnerian symphonic tradition
by the assignment of much of this, important material to the orchestra, rather
than to the vocal parts. It is fortunate that the recording engineer has permit-
ted the orchestra to penetrate the vocal parts where necessary, even in cases of
secondary lines. At times the attention to detail has forced a selection of tempi
that may be a little deliberate, but that is a worthy sacrifice to make.
Expressionism is a style that operates through sudden, violent juxtaposition
of contrasting material, partly for dramatic effect, but also to help articulate a
dear sense of formal structure. In this regard it is refreshing finally to have a
recording in which the series of dances in the opening scene of act 1,forexam-
ple, are all dearly identifiable.
The dioice of cast is uniformly excellent, not only for their technical facility,
but also for the appropriateness of their individual vocal qualities for the roles
to which they are assigned. Eberhard Waechter brings to the title role a voice
of overwhelming dramatic force, without sacrificing his concern for lyrical ex-
pression of the vocal line. Anja Silja possesses precisely the voice Berg must
have had in mind for Mariea range of utilitarian scope that encompasses an
earthy contralto as well as the prescribed supple soprano. Finally, Heinz Zed-
nik and Alexander Malta, as the pathologically comic Captain and Doctor,
provide the buffi) quality called for by Berg (in the cast list), without degener-
ating into the absurdly burlesque.
Like Schoenberg before him, Berg was greatly concerned that the concept
of Sprtchstimme should be understood by the singer; accordingly he included
156 RECORDINGS

Schoenberg's definition of that style at the beginning of the score. Berg also
utilized other vocal styles in the score, such as rhythmicized speech and pure
spoken dialogue; in other passages he called for a transitional style halfway
between full singing and Sprechstimme. The care with which these different
styles arc specified in the score makes it incumbent upon the performer to re-
spect Berg's wishes to the maximum extent possible. Unfortunately, there are
places in this recording in which every singer at times departs from Berg's in-
tentions. For example, in the opening scene of act 3, where Marie's scriptural
reading (in Sprechstimme) is punctuated by dramatic vocal outbursts, Anja
Silja regrettably has reduced the Sprechstimme lines to a monotone recitation.
(It is worth noting that in the earlier DG recording Evelyn Lear commits the
more grievous error of making no distinction whatsoever between the two
styles.)
In the fully sung passages there are also a number of errors in pitch. These
errors always seem to appear in recordings of expressionist works, as if the
wrong pitch will not be noticed in such an atonal score and therefore does not
matter. And yet it often does matter, a case in point being the final death cry
("Hulfe!") of Marie (in act 3, scene 2)a two-octave downward leap from B
to B. Now the whole preceding scene has been an invention on the obsessive
pitch of B in various registers, so Marie's shriek has both symbolic and tonally
structural significance; Silja provides C-sharps.
These occasional technical errors do not detract, however, from what is oth-
erwise an electrifying performance, and the new London recording of Wozzeck
is by far the best yet to appear on the market.
Oliver B. Ellsworth

Henry Purcell
The Fairy Queen. King Arthur.
Honor Sheppard, Jean Knibbs, Christina Maurice Bevan, Pout .lUiott, Mark Deller,
Clarke, Alfred Deller, Mark Deller, John Honor Sheppard, Alfred Deller, Jean Knibbs,
Buttrey, Neil Jenkins, Maurice Bevan, Norman Nigel Beavan, Rosemary Hardy, Leigh Nixon,
Plan, Stour Music Chorus and Orchestra, The King's Music, The Deller Choir, Alfred
Alfred Delkr, conductor Deller, conductor
Harmonia Mundi HM 231 (3 discs) Harmonia Mundi HM 2S2ls3 (2 discs)

The Indian Queen and the Masque from
Timon of Athens.
Mark Deller, Jean Knibbs, Paul Elliott, Maurice
Bevan, Malcolm Knowles, Honor Sheppard,
Alfred Deller, The Kings Music, The Deller
Choir, Alfred Deller, conductor
Harmonia Mundi HM 243 (2 discs)
Dido and Aeneas.
D'Anna Fortunato, Nancy Armstrong, Mark
Baker, Bruce Fithian, Sallie Gordon, Susan
Klebanow, Roberta Anderson, Ken Fitch, Joel
Cohen, The Boston Cameruta, Joet Cohen,
conductor
Harmonia Mundi HM 10067 (1 disc)