I never thought I’d find myself wanting to review a recording of Orff’s Carmina Burana, but this one with the New Jersey Symphony Orchestra caught my ear and is so superb–so lively, accurate, cleanly recorded, and handsomely played–that its action-movie, apocalyptic aspects are matched by its introspective moments.
The soloists act out their parts splendidly–in the case of Vale Rideout, the tenor in the ultra-high “Roasted Swan” episode, almost too well. He never resorts to falsetto and winds up sounding like he’s about to be murdered. Soprano Sarah Coburn, a fine Lucia, has no difficulties with the stratospheric high notes, but she surprises in the tender “In trutina” section, which sits in the middle of her range: she is as lovely as Lucia Popp in the same music. Baritone Stephen Powell’s falsetto is as solid as his baritone, even as he reaches to the high Gs and A-flats; “Omnia sol temperat” is properly adoring and dreamy.
Canadian conductor Jacques Lacombe, who has since been named the Symphony’s music director, leads the work–it is taken from two performances in November, 2008–as if it were a masterpiece, and the huge forces–more than 250 strong–are out to impress, playing and singing with marvelous attention to dynamics. Stabbing rhythmic attacks are the norm–this Carmina moves without rushing.
The hour-long work is complemented by (and preceded by) the Suite from Janácek’s The Cunning Little Vixen (in Václav Talich’s arrangement), which gives us a cleaner idea of what the orchestra can do, and it’s mighty impressive: lovely strings (and solo violin); delightful winds (listen to “Blanziflor et Helena” in the Orff), with no astringency from the oboes, and a fine sense for Janácek’s language. And what a stunning Suite it is! Throughout, every instrument is audible–love those tam-tams!; love those bells! This gets a top recommendation, up there with the Ozawa on RCA. The CD is available through the NJ Symphony Orchestra. [11/5/2010]
