Search - Michael Tippett, John Pritchard, Joan Sutherland :: Tippett: The Midsummer Marriage

The premiere performance of a great opera

J Martin Buck | Columbus, Ohio | 12/18/1999

(4 out of 5 stars)

"Karl Henzy and "Music Fan" may have missed the point here - this recording was made "live" in performance at the premiere of Tippett's great opera. Yes, the sound is pretty bad, and if you want this opera in modern stereo sound, you need the Colin Davis studio recording (which is wonderful, but the CD incarnation seems to be off the market already.) The historical importance of the Sutherland recording is enormous! The music is glorious! As a Tippett fan for many years, I had long wondered what the first performance of Midsummer Marriage might have sounded like, and I was very grateful when Gala released the present set. This recording is for serious collectors and Tippett lovers only. If you want good sound (as well as the score performed entirely as written), look elsewhere. If you want to have the opportunity to hear an historic performance, this set is for you!"

WORLD PREMIERE WAS A SPECIAL PERFORMANCE

Klingsor Tristan | Suffolk | 11/17/2006

(4 out of 5 stars)

"This recording of the premiere of Tippett's first opera is more than just of historical interest. Yes, the ensemble (both chorus and orchestra) is nothing like as good as you get in latter day performances, never mind under the studio conditions of the Colin Davis recording. Yes, the sound is dated, though not that bad for a radio broadcast of the period (1955). Yes, there are intrusions from the radio announcer, updating the plot over the music at various points. But this was a hell of a performance.



First, there is the conducting of John Pritchard, a great Tippett conductor, responsible for what is still, arguably, the best Child of Our Time on disc. His role as chief proselytiser for Tippett's works was taken over by Davis in the 60's and 70's, but Pritchard had the full measure of Tippett's early lyrical and rhythmically ebullient style. The Ritual Dances in this performances have enormous energy and power, the 'Laughing Children' chorus at the end of Act 1 goes with a hugely invigorating bounce, Mark's Act 1 aria 'dances' like no other while Madam Sosostris's oracular pronouncements have an impressive weight and profundity.



The cast, too, is a mighty impressive list of names. Joan Sutherland, in what I think was the only role she 'created', was predictably up for all the elaborate coloratura that Tippett gave to Jennifer. The wordless vocal acrobatics with Richard Lewis's Mark in the Fire in Summer climax of the opera are thrilling. Ah yes, Richard Lewis. Now there was a singer we hear far too little of these days. His Mark is definitive, outstripping any of his successors in the role. Whether in the tricky coloratura of that duet and the Act 1 aria or with the darker colourings he brings to his voice as he reflects on the assimilation of the 'shadow' side of his psyche acquired below ground, his is a riveting performance. This recording makes one even sadder that his stunning Achilles in King Priam was never committed to disc. Otakar Kraus - stalwart of the Rankl/Kubelik days at Covent Garden, a formidable Alberich and creator of roles for the likes of Britten and Stravinsky as well as Tippett - makes King Fisher a truly formidable figure. His only real rival in later performances has been the equally powerful John Tomlinson. John Lanigan and Adele Leigh are perfect as the straightforward Papageno/Papagena couple, Jack and Bella (and they cope well with some of the more mawkish parts of Tippett's libretto).



This is definitely a performance to be reckoned with, despite the dated sound. The balance is a little stage heavy so some of the detail in Tippett's sometimes over-dense orchestral textures is lost. But there is still enough here to enjoy. Probably a complement to the Davis recording (with its much better sound and fine singing, especially from Remedios and Harwood) rather than an alternative. Warmly recommended.

"

Of Historical Significance Only

Klingsor Tristan | 11/16/2003

(2 out of 5 stars)

"This is a recording for the dedicated fan of Tippett's music or Sutherland's voice only. The sound quality is woefully poor (on the verge of unlistenable). Nevertheless, from an historical perspective it's good to gain some insight into the first performance of a major 20th century opera."