[This is a re-post in tribute to and remembrance of Seiji Ozawa, September 1, 1935-February 6, 2024.]
This fine performance sounds better than ever in its latest remastering, and remains a Carmina burana of choice, leagues ahead of Ozawa’s dreary Berlin remake for Philips. True, the soloists aren’t the best, with Evelyn Mandac touching in quieter moments (In trutina) but somewhat shrill otherwise, and tenor Stanley Kolk, well, who cares about the single excruciating tenor solo anyway (he opted for full-voice rather than the usual falsetto at the more extreme passages). Milnes is best, beguiling, rich-toned, and projecting just the right amount of swagger in the tavern scene. Still, the performance thrives on Ozawa’s energy, the vigor of the BSO, and the lusty, boisterous, unsubtle singing of the New England Conservatory Chorus (among whom was none other than CT.com’s own Editor-in-Chief David Vernier). But the presence of my beloved partner in crime is not the reason why I still recommend this fine recording. It’s a fresh, young-sounding version that hasn’t dated a day, and it comes with complete texts and translations. Enjoy. [6/2/2004]
