Anton Schweitzer (1735-87) was the music director at the Weimar court at the same time that the German poet Christoph Martin Wieland (who is given equal billing on this recording) was tutor to the Weimar princes. In 1773 they collaborated on this opera, Alceste, which now is considered the first German Singspiel, the forerunner to The Magic Flute and Der Freischütz. It was felt that German librettos should be of the same quality as those of Metastasio, and therefore this opera is somewhat more important as an example of the growth of the emphasis on text than it is for the music; Schweitzer may be a good composer (Mozart had some nice things to say about him), but he is hardly groundbreaking.
And to tell you the truth, neither does this four-person drama, the story of how Alceste is willing to die in place of her husband, Admetus, but is rescued from the Underworld (in a scene we never experience) by Hercules, have much textual excitement. There are arias, a terzett, a duet, a finale for everyone (including a rarely-used chorus), and acres of recitative, which is only occasionally accompanied. The arias lack Gluck’s nobility or Mozart’s creative surge, and although Parthenia’s music is worthy of the Queen of the Night in tessitura and difficulty, it comes across as empty display. There are intermittent interesting solos for members of the orchestra–a fine use of winds, an (almost) obbligato violin–and, as the accompanying booklet explains, Schweitzer’s choice of key relationships is skillful. The music somewhat enlightens the text–and vice-versa–but neither reaches the soul. This may be a problem with the performance, but more likely it’s a combination of the performance and a simple lack of greatness in the work.
But as an historical rarity and sort-of provincial example of a Mozart/da Ponte alliance, it’s worth a listen. I wonder if a more “driven” performance than this one from conductor Stephen Wehr would have helped. To be sure, Alceste’s sometimes angry, sometimes half-dead, sometimes happily revived music should stir us. And while soprano Ursula Targler’s voice is not pretty, it is expressive–and when not under pressure, she is effective. But there’s no forward propulsion in Wehr’s leadership, and the recitatives, which are the poorest parts of the work, mire the action (where is John Eliot Gardiner when we need him?). As Parthenia, Sylvia Koke has little trouble with the role’s high staccato E-naturals, and as the sympathetic reactor, she’s quite good. Christian Voigt’s Admetus is well-intentioned, and he gets out all of the notes in his coloratura, but the tone and delivery are graceless and wooden. Christoph Wendel’s Hercules should be truly heroic, but his bass is more matter-of-fact and woolly than it is epic. The orchestra is beyond competent and the recording is excellent. The libretto is in German only, but a detailed, track-by-track synopsis is included. This whole project is admirable; if only it were at all riveting.
