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Ascolti Die Fledermaus

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Ascolti Die Fledermaus Ascolti Luigi Bellingardi* La prima registrazione per Die Fledermaus è del 1949 con la direzione di Fe- renc Fricsay sul podio del Rias Kammerchor e della RIAS Sinfonieorchester di Berlino Ovest. Cantano Peter Anders (Eisenstein), Anny Schlemm (Rosalinde), Rita Streich (Adele), Silvia Menz (Ida), Helmut Krebs (Alfred), Herbert Brauer (Dr. Falke), Edwin Heyer (Dr. Blind), Hans Wocke (Frank), Anneliese Müller (Prinz Orlofsky), Fritz Hoppe (Frosch): interpretazione esemplare, notevole l’in- tensità espressiva di Fricsay (Deutsche Grammophon). Tra le incisioni degli anni Cinquanta si ricordano quelle condotte da Krauss, Karajan, Ackermann. Nel 1950 Clemens Krauss dirige il coro della Staatsoper di Vienna, i Wiener Philharmoniker e i cantanti Julius Patzak, Hilde Güden, Wilma Lipp, Anton Der- mota, Alfred Poell, August Jaresch, Kurt Preger, Sieglinde Wagner: mancano i parlati, Krauss è inarrivabile per eleganza d’espressione (Decca). Nel 1955 Her- bert von Karajan conduce il Coro e l’Orchestra Philharmonia con le voci di Ni- colai Gedda, Elisabeth Schwarzkopf, Rita Streich, Luise Martini, Helmut Krebs, Erich Kunz, Erich Majkut, Karl Dönch, Rudolf Christ, Franz Böheim: splendida la direzione di Karajan nell’esaltare i mille colori dell’orchestra, con l’eccellente partecipazione di voci prestigiose (Naxos Historical). Nel 1959 Otto Ackermann dirige il Coro e l’Orchestra Philharmonia con i cantanti Karl Terkal, Gerda Scheyrer, Wilma Lipp, Luise Martini, Anton Dermota, Eberhard Wächter, Erich Majkut, Walter Berry, Christa Ludwig, Erich Kunz: Ackermann sottolinea mar- catamente il carattere viennese (EMI). Tra le registrazioni degli anni Sessanta si rammentano quelle condotte da Karajan e da Stolz. Nel 1960 Herbert von Ka- rajan è sul podio della Staatsoper di Vienna con Waldemar Kmentt, Hilde Gü- den, Erika Köth, Hedwig Schubert, Giuseppe Zampieri, Walter Berry, Peter Klein, Eberhard Wächter, Regina Resnik, Erich Kunz nel cast: si ascolta la ripre- sa di uno spettacolo trionfale (Decca). Nel 1964 Robert Stolz conduce il Coro della Staatsoper di Vienna, i Wiener Symphoniker e i cantanti Rudolf Schock, Wilma Lipp, Renate Holm, Ina Dressel, Cesare Curzi, Claudio Nicolai, Ferry Gruber, Walter Berry, Elisabeth Steiner, Otto Schenk: Stolz tende a prediligere lo spirito dell’operetta (BMG RCA). Nelle incisioni degli anni Settanta si impon- gono all’attenzione quelle condotte da Boskovsky e da Carlos Kleiber. Nel 1971 Willi Boskovsky dirige il Coro della Staatsoper di Vienna e i Wiener Symphoniker, con Nicolai Gedda, Anneliese Rothenberger, Renate Holm, Sen- ta Wengraf, Adolf Dallapozza, Dietrich Fischer-Dieskau, Jürgen Förster, Walter Berry, Brigitte Fassbaender, Otto Schenk nel cast: la performance è nell’insie- me equilibrata (EMI). Nel 1976 Carlos Kleiber è alla guida del Coro e dell’Or- chestra della Bayerische Staatsoper con i cantanti Hermann Prey, Julia Varady, Lucia Popp, Evi List, René Kollo, Bernd Weikl, Ferry Gruber, Benno Kusche, Ivan Rebroff, Franz Muxeneder: in grande risalto la travolgente incisività di Carlos Kleiber (Deutsche Grammophon). Tra le incisioni degli anni Ottanta si segnala- no quelle condotte da Tate e da Harnoncourt. Nel 1986 Jeffrey Tate è sul po- dio del Metropolitan di New York con le voci di Håkan Hagegård, Kiri Te Ka- nawa, Judith Blegen, Victoria Brasser, David Rendall, Michael Devlin, Anthony Laciura, Franz Mazura, Tatiana Troyanos, Otto Schenk: è la prima data al Met 146 in lingua originale, assai convincente è la guida musicale di Tate (The Opera Lovers). Nel 1987 Nikolaus Harnoncourt è sul podio del Coro della Nationale Opera e dell’Orchestra del Concertgebouw di Amsterdam, con i cantanti Wer- ner Hollweg, Edita Gruberova, Barbara Bonney, Elisabeth von Magnus, Josef Protschka, Anton Scharinger, Waldemar Kmentt, Christian Boesch, Marjana Li- povšek, André Heller: Harnoncourt predilige tempi lenti (Teldec). Tra le regi- strazioni recenti si ricordano quelle firmate da Previn e da De Billy. Nel 1990 André Previn dirige il Coro della Staatsoper di Vienna, i Wiener Philharmoniker e i cantanti Wolfgang Brendel, Kiri Te Kanawa, Edita Gruberova, Karin Göt- tling, Richard Leech, Olaf Bär, Anton Wendler, Tom Krause, Brigitte Fassbaen- der, Otto Schenk: di stampo tradizionale la direzione di Previn, brillanti le pro- ve della Gruberova e Leech (Philips). Nel 2006 Bertrand De Billy dirige il Coro e l’Orchestra della Staatsoper di Vienna con Boje Skovhus, Ildiko Raimondi, Dia- na Damrau, Bori Keszei, Herwig Pecoraro, Adrian Eröd, Peter Jelosits, Wolf- gang Bankl, Elisabeth Kulman, Robert Meyer nel cast: brillante in particolare la Damrau (Premiere Opera). Nel folto numero dei video si pongono in evidenza quelli condotti da Böhm, Kleiber, Minkowski, Jurowski. Nel 1972 Karl Böhm è alla guida del coro della Staatsoper di Vienna e dei Wiener Philharmoniker con i cantanti Eberhard Wächter, Gundula Janowitz, Renate Holm, Sylvia Lukan, Waldemar Kmentt, Heinz Holecek, Erich Kuchar, Erich Kunz, Wolfgang Wind- gassen, Otto Schenk per la regia di Otto Schenk: l’esito è un film omogeneo con interpreti di grande celebrità (Deutsche Grammophon). Nel 1986 Carlos Kleiber dirige i complessi della Bayerische Staatsoper con i cantanti Eberhard Wächter, Pamela Coburn, Janet Perry, Irene Steinbeisser, Josef Hopferwieser, Wolfgang Brendel, Ferry Gruber, Benno Kusche, Brigitte Fassbaender, Ivan Un- ger ancora per la regia di Otto Schenk: elettrizzante l’incisività di Carlos Klei- ber, brillantissimo l’esito espressivo dell’intero spettacolo (Deutsche Gram- mophon). Nel 2001 al Festival di Salisburgo Marc Minkowski conduce il Coro Arnold Schönberg e l’Orchestra del Mozarteum con Christoph Homberger, Mireille Delunsch, Malin Hartelius, Daniela Mühlbauer, Jerry Hadley, Olaf Bär, Franz Supper, Dale Duesing, David Moss, Elisabeth Trissenaar nel cast, per la regia di Hans Neuenfels: in rilievo la performance della Delunsch e della Harte- lius (Arthaus Musik). Nel 2003 Wladimir Jurowski dirige il Coro del Festival di Glyndebourne, la London Philharmonic Orchestra con i cantanti Thomas Allen, Pamela Armstrong, Lyubov Petrova, Renée Schüttengruber, Pär Linskog, Håkan Hagegård, Ragnar Ulfung, Artur Korn, Malena Ernman, Udo Samel per la regia di Stephen Lawless: in notevole evidenza la vivacità e la trasparenza della direzione di Jurowski (Opus Arte). * Luigi Bellingardi (1929), musicologo e critico musicale, ha insegnato dal 1991 al 2001 Metodolo- gia della critica musicale e Musica del Novecento al Conservatorio di Santa Cecilia e per un tren- tennio ha collaborato a rubriche musicali su RAI Radio 3. Ha pubblicato Invito all’ascolto di Cˇajkov- skij (1990) e ha curato l’edizione di Tutte le cronache musicali di Fedele d’Amico (3 volumi, 2000). In qualità di critico musicale ha collaborato a lungo (dal 1976) al “Corriere della Sera”, special- mente per l’edizione romana. Dal 1991 firma le Discografie per libri e programmi di sala del Teatro alla Scala. 147.
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