Customer Reviews

Dvorák: Rusalka

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This is based on only a partial hearing, but I wanted to register a few key notes about this less-known version of Rusalka, with some information that is not apparent from a quick scan of the Amazon listing.

First, I hadn't realized that this one is sung in German - I know the atmospheric harmony of words and music could be an important issue for some people, and certainly I do miss that wonderful word "mesicku" in the famous Song to the Moon.

Second, it's a recording of a live performance in Düsseldorf in 1975. But the audience are very good - minimal coughing or distractions (those were the days!)

The CDs were made in Portugal and somehow, CD1 got labeled as CD2 and vice versa, at least on my copy. Not a problem once you realize - which happens pretty quick.

The performers highlighted on Amazon for some reason don't include Rusalka herself: no less a voice than Hildegard Behrens, in this early part of her career(though the CD cover has the listing).

Now, with all that settled, what about the music?

I think it will not prove to be my most favored version, but to me all Rusalkas are welcome!

The Düsseldorfer Symphoniker do a very good job under Peter Schneider, if he does sometimes move them somewhat towards a more robust Wagnerian interpretation, away from a Slav melancholy. This was also what struck me about Behrens' interpretation. This water spirit is more of a raw elemental - there is a latent power there, one that could even be feared, and this energy works against the story's depiction of a yearning waif. Would it be to much to say that one can already hear Brunnhilde? I'd like to know what others think. In some ways a tension like this is true to the general legend of Undines and all water-dwellers: I grew up in Scotland and always thought the water-kelpie was s really scary concept. Perhaps it makes it more dramatic that one of them could so be so overcome by mortal-style desires.

The Song to the Moon is taken a little slower than usual - possibly increasing drama at the expense of lyricism?

I write this as I am listening, now at the end of the first act, and am very impressed with the Prince, Werner Goetz: I must look for some other recordings of his.