Customer Reviews

Grieg: Peer Gynt

5 star:		(9)
4 star:		(2)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

... to keep closely beside the gorgeous, incisively intelligent and deeply concentrated performance (also on 1 CD) with Esa-Pekka Salonen conducting the Oslo Philharmonic Orchestra and Barbara Hendricks singing the role of Solveig (Sony Classical).
Together with the recordings by Neeme Jarvi (27 cues; DGG), Marriner (only 12 cues; EMI), Tate (17 cues; EMI), Blomstedt (19 cues; Decca), Dreier (the first truly complete recording of all of the original music (1978); 32 cues, including 'Bridal Procession', 'Solveig's Song' and three 'Norwegian Dances' all of them n o t originally written for the play; Unicorn UKCD + NKFCD) and Ruud (the first complete recording with 29 cues plus all of the dialogue, making a total of 51 cues, coming up on 113 minutes; BIS), these two (1-CD) albums by Paavo Jarvi and Esa-Pekka Salonen are as complete as can get concerning this so called 'incidental' music for the Henrik Ibsen play of Peer Gynt. Nowadays, Peer Gynt is Norway's No. 1 national epic, thereby giving this music extra significance and poignancy. Originally, there are in all some twenty-six numbers of incidental music for the play: almost ninety minutes of music, as can be learned from the booklet-essay. And according to the booklet, twenty of those are on this album; No. 5, 10, 11, 14, 18 and 24 are left out of this recording. 'Solveig's Song' wasn't originally written for the stage play but nonetheless included as such on this CD, so actually 19 original pieces from Peer Gynt, op. 23 are on this album, and not 20. But anyhow, such 'criticism' would amount to nitpicking ;-)
Here I would like to warn the reader that this will be a somewhat one-sided review, as I have only ever heard the Peer Gynt-recordings of Esa-Pekka Salonen, Per Dreier (freshly inspired, very natural performances) and this newest one of Paavo Jarvi. So this review is, for what it is worth, a personal and somewhat subjective approach, leaving out many other alternatives ...

Anyhow, as for the one-CD albums of Peer Gynt, op. 23, the merits of the Salonen/Oslo Philharmonic album (aside from the artistic ones, which are huge, as well as spot on as far as the 'Nordic' atmosphere of the music is concerned) lie in the fact that - up to now - it has been as near 'complete' a rendering of the music for Peer Gynt - as much as fits on one CD - as one might wish, covering the whole dramatic arc of the play from beginning to end (but without any of the spoken dialogue). I believe that this new recording with Paavo Jarvi is even more complete - as could be fitted on one disc - and gives the listener an even better feel of the drama of the play, if only because there is more singing here, namely by Peer Gynt (in the delightful 'Peer Gynt's Serenade'). Also, one hears here seldomly recorded, but wonderfully evocative pieces, such as 'Peer Gynt and the Woman in Green', 'Peer gynt: you can tell great men by the style of their mounts', 'Peer Gynt at the Statue of Memnon' (similar to 'Prelude Act III: Deep in the Coniferous Forest' on the Salonen/Oslo Philharmonic album. Actually it is the same piece, but it was never intended as the prelude to act III) and 'The Shipwreck'. Simply delightful, all this! As are all the soloists - truly, the best one could wish for! - singing in this recording. If I may steal a quote from Tim Ashley, The Guardian, May 13, 2005: "Peter Mattei is the swollen-headed Peer, Camilla Tilling a dignified, unsentimental Solveig and the incomparable Charlotte Hellekant a camp but lethally seductive Anitra." But although Camilla Tilling's Solveig is superb, IMHO she is not as completely involved-sounding or as convincing in the projecting of the troubled mind and heart of (especially the elderly) Solveig as does Barbara Hendricks for Esa-Pekka Salonen.
Even more than Esa-Pekka Salonen's performance with the Oslo Philharmonic Orchestra, this recording offers the listener a more 'true to the letter-performance', as the music is here performed as heard during the play, as witnessed by 'Solveigs vuggevise' ('Solveig's Cradle Song'), where her singing is interlaced with the 'Whitsun Hymn', which, to the ears of this listener, only heigtening the sense of drama and storytelling.
All in all a fantastic album, I believe, and one that brings into focus the drama even more than other recordings of this music. Even though the orchestral playing of the Estonian National Symphony Orchestra is maybe a (slight) nodge below that of the Oslo Philharmonic under Salonen and missing out on the deepest or finer layers of melancholy and dramatic tension (which are indeed touched upon by Salonen, I think), it is warmly sympathetic and more lush (as is the acoustics of the recording venue).
The really adventurous or Peer Gynt-completists (and once taken this step, the all too brief Suites will never be an option again!) should really go for Dreier or Ruud - this last one is said to be simply magnificent (music as well as acting) - but this generous one disc album, with some of the most gorgeous playing and singing, is warmly recommended (at least, in my opinion) to anyone who loves this wonderfully evocative music. Delightful!

Conductor Paavo Jarvi does a masterful job of leading the Estonian National Symphony Orchestra. The orchestra plays with great emotion and precision creating an exciting and almost hypnotic effect. Although Beecham's version is very good, his Peer Gynt does not come close to matching the sheer beauty of Jarvi's.
The soloists on this album are outstanding. I consider baritone Peter Mattei to be the most talented baritone of his type today and his rendition of Peer Gynt's Serenade is nothing short of incredible. Soprano Camilla Tilling as Soveig has a lovely ethereal sound to her voice which is used to great effect in her songs. Tilling has the loveliest female voice I have ever heard. Mezzo Charlotte Hellekant has also grown on me as Anitra. Many of these vocal songs are not included on other versions of Peer Gynt, which is a great shame. The choir, something I don't usually enjoy, is very impressive.
I would rate this CD as by far the best version of Peer Gynt and perhaps my favorite CD of all time. The sound quality of the recording should also be mentioned because it is absolutely stunning.

This disc, though coy about the extent of its content, is indeed a highlight disc if a generous one (60'14"). Before discussing the performance, I will list which numbers are omitted from this recording:

Nos. 1-4: Included. The interpolated Wedding March orchestrated by Halvorsen (from Op. 19 piano pieces) is omitted, as it never was a part of what Grieg wrote for Peer Gynt.

No. 5: Omitted. Peer Gynt and the Herd Girls is a number where three girls sing grotesquely to Peer, who speaks between the sung portions.

Nos. 6-9: Included. For some reason No. 3, the viola number "Springar" is relocated to fit just before No. 8, In the Hall of the Mountain King. No explanation is provided in the notes.

No. 10: Omitted. Peer Gynt Haunted by the Trolls. Grieg paints a vivid if eerie picture with this piece. It is attached to: No. 11: Omitted. Peer Gynt and The Boyg, a so-so piece that is mostly dialogue over music. Its necessity in a Peer Gynt set is a matter of opinion.

Nos. 12-13: Included

No. 14: Omitted. The Thief and the Receiver is but a brief piece between two baritones.

Nos. 15-17: Included

No. 18: Omitted. Most of this Peer Gynt/Anitra number is Norwegian dialogue. Less than one minute is music.

Nos. 19-23: Included

No. 24: Omitted. The Night Scene includes some quiet music depicting night, Peer Gynt saying something in Norwegian, a chanting choir, and a speaker signifying the deceased Ase (Peer's mother). The best part is the last minute, where the quiet night music returns.

Nos. 25-26: Included

Quality of performance is consistently high. Paavo Järvi competes with his father's recording here, giving an account equally (if not more) persuasive. He milks Peer Gynt for all it's worth with very pleasant results. The Estonian National Symphony Orchestra plays professionally, stimulating much pleasure for the listener. The choir is equally excellent, making the hymn near the end of the disc truly glorious in its beautiful simplicity.

The singers are all excellent. Peter Mattei's Peer Gynt (the Serenade, No. 17 only) is excellent, in my opinion quite ahead of Urban Malmberg on the Neeme Järvi complete recording.

Camilla Tilling as Solveig has a pleasingly sweet soprano voice which works very well in this repertoire. She may not convey Solveig's progression of age perfectly, but she is extremely consistent and preferable to Barbara Bonney's interpretation if only on account of being less operatic.

Anitra's lusty performance in the Arabian Dance is commendable. Charlotte Hellekant's uncontrolled-sounding mezzo voice works very well for this piece.

The quality of sound is amazing. There's no other word for it.

Overall:
Music Selection - 4 Stars. Though very generous, a couple more numbers could have been fit on here (particularly Nos. 10 and 14).
Performance - 5 Stars. Only Beecham can be said to do any better.
Sound Quality - 5 Stars. If only all discs sounded as good as this one.
Documentation: 5 Stars. Detailed liner notes, a synopsis, and complete texts and translation of sung numbers are all included.
Price - 4 Stars. Though this disc retails at the normal $17, it often can be had for less directly from Amazon. (I bought it for a friend for $10.)

Bottom line: I would not be without this Grieg disc. Overall, it beats any other excerpt set I've ever listen to (even Beecham and Esa-Pekka Salonen). It gives an excellent alternative to a complete set.

If there's an earlier 'Peer Gynt' recording that's complete (as opposed to just the 'suite') I've never heard of it. This is the entire incidental music to the play, not just the usual 'Dawn', 'The Hall of the Mountain King' 'Solveig's Song', etc.
Jarvi's reading is smooth and incisive and the choral parts are wonderful. I've never heard a scarier version of HOTMK. I never even knew that there was a solo vocal part for Peer himself, but here it is.

My only complaint-and it's a tiny one-is that the selections are not in the order that they would appear in Ibsen's play. But that's picking a very small nit indeed.

I don't find that Paavo Jarvi and his Estonian forces have anything special to say in twenty selected numbers from the twenty-six that Grieg wrote for Ibsen's epic-fantastical drama. You must turn to Beecham for sheer delight in famous numbers like In The Hall of the Moutain King, Morning, Anitra's Dance, and the rest of the excepts Grieg gathered into suites. Where this recording scores is in the unfamiliar numbers; baritone Peter Mattei's excellent rendition of the little-known Peer Gynt's Serenade is one highlight, as is the convincingly crude folk fiddling that begins half a dozen numbers.

Secondly, there's the sound. The engineers have achieved quite exceptinally clear, open sonics that I've never heard the like of in Peer Gynt. Even when Jarvi's conducting is straightforward and his Estonian musician are playing at less than virtuosic level, the gorgeous sounds coming out of one's speakers remain alluring. As far as completeness goes, the Ruud 2-CD set from Bis is unchallenged, along with the even better rendition in English conducted by Guilaume Tourniaire, which sets a new standard for merging Ibsen's spoken dialogue and Grieg's music. Paavo Jarvi's set includes no acting, which robs the performance of a good deal. His father, Neeme Jarvi, led a pioneering recording in 1987 that showed just how essential it is to hear both Grieg and Ibsen, but the conducting there is brisk and less than romantic enough.

The suites from Peer Gynt are of course staple fare, but the complete incidental music does indeed contain several gems that the suites alone miss such as the choral parts in numbers that are played by the orchestra alone in the suites (the Arabian Dance gains a lot). Now, this recording actually does not give us the absolutely complete incidental music; some of the lengthier melodramas with dialogue are omitted (though they are generally not missed). Among the additional pieces worth having are the two folk dances (placed after each other in the original score but divided up here). The Dance of the Mountain King's Daughter is definitely a nice, atmospheric number; still, the major addition, and the must have for most fans of the composer, is the wonderful overture, which is inexplicably not generally given with recordings or performances of the suites.

Paavo Järvi leads colorful, vivid and vital performances from the Estonian National Symphony Orchestra. They are especially notable for their verve and freshness and drama, though they provide plenty of color and atmosphere as well. The choral contributions are generally very good as well even though I suppose native speakers will notice a certain hint of accent in some numbers. The soloists are overall excellent, and I find Camilla Tilling's portrayal of Solveig particularly touching. The sound is big and blooming with plenty of ambience and atmosphere, but nevertheless clean and clear (it is, indeed, superb). Overall, then, this is a very enjoyable release; I suppose many listeners will be able to get by with the suites alone (if they also manage to obtain the spirited overture) but it is definitely worth investing in a more-or-less complete set such as this one as well.

The music on this CD is performed by the Estonian National Symphony Orchestra, who do a very fine job. A popular version of the famous track 'In The Hall of the Mountain King' has no vocals, so don't purchase this album if that's the version you're looking for. The vocals come in right when the music starts to go fast. I like both versions, but you may only like one. The other famous track is 'Morning Mood,' which is performed beautifully. This Album would be a great edition to any classical collector. Really any collector, because who doesn't love the tension building and the final explosion of 'In The Hall Of The Mountain King.'

The story line gives the listener a guide to follow the music, but the score leaves out the connections for the listener to only imagine the performance. The music is passionate and descriptive and introduces the listener to the singing voices of parts of the presentation that are left out in the "Suite." I appreciate hearing it over and over.

I had not bought the incidental music to Peer Gynt previously because I had heard it so often, thought I knew each piece by heart, and felt there was nothing new under the sun. Then I heard this CD one morning played by Rome Radio and immediately knew I had been wrong. The sound is of superior quality and the orchestra and voices oblige you to listen just as Glen Gould obliged me to listen to his renditions of Bach. I can recommend it without reservation.

I am a Grieg advocate - and a 1000% vocal and choral oriented -
I learned all the arias, and choral parts from an album 45 years long ago - and was going nuts because when I lost it, you couldn't find ANYTHING with the chorale parts, and it seemed that no one even had the idea that there was anything beyond Solveg's song and Ase's death -
or that The Arabian Dance was a total work of art and aria and choir in itself -

That made the whole thing for me - I did find the "complete" Peer Gynt a bit long - but I LIVED for the the complete vocals. The recording for some reason was a bit muddy in places, (for me) - but never the less, -having the whole thing - and being able to hear and share the choral parts and back up - Priceless!