Barber Antony and Cleopatra
View record and artist detailsRecord and Artist Details
Composer or Director: Samuel Barber
Genre:
Opera
Label: New World
Magazine Review Date: 7/1986
Media Format: Vinyl
Media Runtime: 0
Mastering:
ADD
Catalogue Number: NW322/4
Tracks:
Composition | Artist Credit |
---|---|
Antony and Cleopatra |
Samuel Barber, Composer
Charles Damsel, Agrippa Christian Badea, Conductor David Hamilton, Dolabella, Bass David Hickox, Eros Eric Halfvarson, Enobarbus, Bass Esther Hinds, Cleopatra, Soprano Jane Bunnell, Iras, Soprano Jeffrey Wells, Antony, Baritone K. Weaver, Thidias Kathryn Cowdrick, Charmian, Mezzo soprano M. Cleveland, Maecenas Robert Grayson, Caesar Samuel Barber, Composer Spoleto Festival Orchestra Steven Cole, A Messenger, Tenor Westminster Choir |
Composer or Director: Samuel Barber
Genre:
Opera
Label: New World
Magazine Review Date: 7/1986
Media Format: CD or Download
Media Runtime: 116
Mastering:
ADD
Catalogue Number: NW322/4-2
Tracks:
Composition | Artist Credit |
---|---|
Antony and Cleopatra |
Samuel Barber, Composer
Charles Damsel, Agrippa Christian Badea, Conductor David Hamilton, Dolabella, Bass David Hickox, Eros Eric Halfvarson, Enobarbus, Bass Esther Hinds, Cleopatra, Soprano Jane Bunnell, Iras, Soprano Jeffrey Wells, Antony, Baritone K. Weaver, Thidias Kathryn Cowdrick, Charmian, Mezzo soprano M. Cleveland, Maecenas Robert Grayson, Caesar Samuel Barber, Composer Spoleto Festival Orchestra Steven Cole, A Messenger, Tenor Westminster Choir |
Author: Edward Greenfield
Leontyne Price recorded two of Cleopatra's big scenes in 1968 for RCA (SB6799, 8/69—nla) and they provided a fair sample of the way Barber sets the text, generally not rising to an overt 'grand tune', Puccini-style, but giving warm and fluent support to Shakespeare's lines in a sympathetically late-romantic manner. This complete recording now reinforces the feeling that this is a work still seriously under appreciated, not quite the major masterpiece that Barber aimed at, nor yet quite so effective in adopting the old-fashioned grand operatic manner as Walton's Troilus and Cressida (a work closely related, and an influence on Barber, I am sure) but a work full of memorable ideas both musical and dramatic.
That makes it specially suitable for appreciation on record, even if this live recording is not ideal with its odd balances and a cast that is strong but variable. I cannot imagine that the Spoleto setting provided the sort of grand presentation such an opera really requires, and some high dramatic moments lose weight from sounding too close, but the recording is spacious and atmospheric enough to bring out the richness of orchestral textures and the commitment of the performance under the Romanian, Christian Badea. Standing out among the soloists is Esther Hinds as Cleopatra, who also snag that role in the Juilliard performances. As recorded it is a voice at sweetness under pressure. The bass-baritone, Jeffrey Wells, as Antony is less smooth on the ear, with the microphone exaggerating his vibratoo, but he gives a strong, thoughtful performance with words admirably clear, as they are from most of the others in the cast.
I would now like to hear the original version. Andrew Porter in a detailed analysis of the changes in a long article in The New Yorker suggested that an amalgam of the two might provide an even better answer. I suspect that some of the impression of shortwindedness that the present version conveys in its rapid sequence of brief scenes has been underlined by the cuts which Menotti suggested in the revision. What I am sure is pure gain is the insertion of several rich and romantic interludes and a big love duet before Actium, giving the piece a more red-blooded operatic flavour. That duet has a text taken not from Shakespeare but from Beaumont and Fletcher (The bloody brother) and Porter stigmatizes it as being ''like Lehar or perhaps Victor Herbert'', but that I count quite unfair. It is like Walton rather, but it is even more like the full-throated romantic barber, and I only wish that he had dared to pull out the stops a little more often instead of being if anything too reticent. At least with this recording the evidence has become far more accessible.
The producer explains that in addition to recording four complete state performances, there were two 'make-up' sessions. That was primarily for restoring original orchestrations to passages which for stage reasons had had to be modified, as for example, having an orchestral whip in Act 1 scene 3 instead of the stage whip used in the production. Editing has been skilful. Stage noises are sometimes obtrusive, but audience noises are happily few.'
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