Janácek: Osud (Fate)

Leos Janacek (Composer), Charles Mackerras (Conductor), Welsh National Opera Orchestra (Orchestra), Barry Mora (Performer), Christine Teare (Performer), Helen Field (Performer), Kathryn Harries (Performer), Michael Preston-Roberts (Performer), Peter Bronder (Performer), Philip Langridge (Performer), Samuel Linay (Performer), Stuart Kale (Performer), Timothy German (Performer), Yolande Jones (Performer)

Product Details

• Performer: Barry Mora, Christine Teare, Helen Field, Kathryn Harries, Michael Preston-Roberts, et al.
• Orchestra: Welsh National Opera Orchestra
• Conductor: Charles Mackerras
• Composer: Leos Janacek
• Audio CD (October 26, 1999)
• SPARS Code: DDD
• Number of Discs: 1
• Label: Chandos
• ASIN: B00001T6K3
• In-Print Editions: MP3 Download
• Average Customer Review: 5.0 out of 5 stars  See all reviews (4 customer reviews)
• Amazon.com Sales Rank: #62,204 in Music (See Bestsellers in Music)

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Customer Reviews

Most Helpful Customer Reviews

20 of 24 people found the following review helpful:

5.0 out of 5 stars GREAT RECORDING, BUT THE PRICE..., November 30, 1999

By	David Herter (Seattle, WA United States) - See all my reviews

This is 20th century opera at its most vivid. Once considered a failure, Osud was resurrected in an English translation that actually improves upon the original libretto. The music is as vital as anything in Janacek: the piece starts a churning riff strangely reminiscent of Philip Glass; the ending is equally memorable -- startlingly brusque and humorous. Throughout, we get musical drama tied to the quick of spoken language; conversations overlap, or suddenly fall silent. At times the story is ridiculous, but the production rides over any problems. Philip Langridge, as always, is great. My only qualm: this was originally a single disc CD on EMI, for a single disc price. Though the package is nice, the price is steep for some 70:00 odd minutes.

2 of 2 people found the following review helpful:

5.0 out of 5 stars Five stars for Janacek's tidal wave of music, zero stars for the libretto, September 10, 2008

By	Santa Fe listener - See all my reviews (TOP 100 REVIEWER)

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'Osud' was premiered after Janacek's breakthrough opera, 'Jenufa,' which tells you all you need to know about its music. This is prime Janacek. The first act opens with an outburst of joy unmatched, perhaps, in all opera, and one anticipates a neglected masterpiece. But sadly, the story is a catastrophe, it's semi-autobiographical plot line about a tormented composer being incomprehensible. Turning the original Czech into English proves neither hindrance nor help. The whole thing defies understanding, and I found it best -- both in this excellent recording and in a conert prformance in London this summer -- to block out everything but the music.

If one does that, Osud becomes a ravishing experience. Janacek wrote some soaring choral parts in Act I, and the two main characters, the composer Zivny and the woman he wronged, Mila, each have long aria/monologues that are gripping and touching (albeit murky if you try and make sense of them psychologically). As sung by the veteran English tenor Philip Langridge, here hitting his peak, Zivny holds the stage, and sopraono Helen Field is lyrical and moving in the thankless role of Mila. Charles Mackerras conducts with the usual commitment he brings to Janacek -- indeed, we're lucky to have such talent all around.

'Osud,' which means "destiny," deserved its fate, on both counts. It deserved to fail as an opera but to survive as glorious music. I waited a long time before chancing this doomed work and am happy to report what a wonderful listen it turned out to be.

5.0 out of 5 stars Hidden Gem, June 3, 2009

By	Angus W. Grant (Melbourne, Australia) - See all my reviews (REAL NAME)

This opera is problematic but certainly not inferior. Understandably its plot (or lack thereof) could easily make for an unsatisfying night in the theatre (although we still turn up to Don Carlo and what about that for a dud of an ending?) but the music is on the same level of inspiration as any of his other scores. Of course it is not such a satisfying overall experience as Jeunfa or her other operatic sisters but there is so much to enjoy.
The long monologues for the tenor are enthralling and this recording is lucky to have Phillip Langridge, who is unparalled in bringing out the drama and meaning in English texts. He is perfect at these slightly deranged, emotionally damaged roles (which is why his Britten is so compelling). Thankfully, he dominates the opera and the set is worth purchasing for this demonstration of artistry.
Helen Field does not have what I would call an international sound (interpret that as you will) but is more than adequate and the numerous small roles are given real character. Another pleasant surprise is the number of interesting choruses, the sound of which did not bother me as it did the Gramophone reviewers.

The recorded sound is excellent and with an Australian at the helm, how could the conducting be anything less than brilliant?