This is the version of Viktor Ullmann’s opera, recorded live in October, 2021 in Munich, that features an expanded instrumental score, although precious little information exists regarding the provenance of this version, even from its publisher, Schott. Ullmann’s original, composed in the Nazi ghetto/concentration camp known as Terezín (Theresienstadt) in 1943/44, was for a 13-piece orchestra, including saxophone, banjo, and harpsichord–not your typical configuration, but actually very effective in conveying the particular style(s) and dramatic elements of the piece. (You can read more about the work itself in my earlier review of the recording on IBS Classics.)
Considering the fact that the first performance never took place–rehearsals were interrupted and ultimately cancelled due to the transport of many of the opera’s participants (including Ullmann and librettist Peter Kien) to Auschwitz in October, 1944–Ullmann’s handwritten score miraculously survived, but with many alterations, incisions, additions, and emendations by various hands, leaving us no way to construct a “definitive” version of the work. So this one, edited by Henning Brauel, while retaining much of the instrumental ensemble’s theatre/cabaret aspects, has an overall more polished, softening of the edges quality, thanks to a richer, fuller string sound (helped also by the warm recording ambience).
As with the version recorded in 2015 by Musique des Lumières led by Facundo Agudin on IBS Classical (see reviews), which is based on an effort to get as close to Ullmann and Kien’s original intent as possible, the singers here are all excellent, and the orchestra, members of the Munich Radio Orchestra, is equally, expectedly fine.
Not surprisingly, there are differences between these two performances (and to those on the handful of other existing recordings), which will be of interest to scholars and others who wish to know more about Ullmann’s music or of the music of Terezín in general.* Just one example: the Agudin version retains what he insists is Ullmann’s intended rendition of the Totentanz, played as one piece, at the beginning of the second scene; in the Munich version, it’s split in two, the second part placed at the end of the scene. Agudin gives quite a detailed description of choices made in deriving his version of the score; Munich conductor Patrick Hahn does not, instead opting for the abovementioned Schott/Brauel edition. For most listeners these differences will not in the least affect understanding or enjoyment of the work.
Also of note: this recording comes without a libretto (the IBS has a full libretto in four languages), instead giving summaries of the texts throughout each scene; there is no breakdown of instrumentation, only a photo of what presumably is the ensemble–which consists of more than a couple dozen players. However, the notes also include a fascinating discussion (more comprehensive than on the IBS recording) of the many musical and cultural references in the libretto and in the music.
There are a few other options available for those who want to explore other recorded performances of Der Kaiser von Atlantis, but the two I’ve mentioned here are the best, and together provide the most useful comparison of what might be described as a more “historically accurate” version and a more “modern” rendition, both very fine and satisfying performances, and legitimate in their own right. While either one will serve most listeners very well, I recommend both.
*(As mentioned in my review of the IBS recording, you can begin with Joza Karas’ excellent book, Music In Terezín, 1941-1945, and go from there.)
