Image: © Felix Broede
This is Janowski’s second recording of Der Freischütz: his first was recorded in Berlin with the Deutsches Symphonie-Orchester Berlin and released in 1994 by RCA. Janowski’s reading of the Overture was darker and more restrained in Berlin; his new performance with the Frankfurt Radio Symphony seems cut from a different cloth, offering playing of enthusiastic verve and bold orchestral colors. Bolstered by the wide-ranging Pentatone recording, the C Major chord at 7’45” has a tremendous impact, delivering a jolt of extra energy that brings the overture to a thrilling conclusion and carries the listener right into the opening scene. Be careful to monitor your volume setting as the scene begins because the initial gunshot could easily damage your speakers. Pentatone’s recording engineers have found an ideal balance for the many performers, and it is especially gratifying to hear the chorus placed forward enough that their words (which are sung with crystal-clear diction) are clearly understood. Janowski sets the perfect tempo for the march that follows, the Frankfurt players reveling in Weber’s idiomatic wind writing. In comparison, Kleiber sets a tempo that is far too fast, his chorus struggling to keep up and the march sound more like a race.
The original dialogue is here replaced by a newly written narration that keeps the story moving between musical numbers. Interestingly, one of the narrators is Corinna Kirchhoff, who also plays Samiel (the devil). Her acting is completely convincing, but it could, at first, prove disconcerting to listeners familiar with the opera to hear a woman taking the devil role.
Andreas Schager’s portrayal of Max is very fine. His burnished tone is ideally suited to the role, and his diction is consistently excellent. Likewise, Alan Held’s Kaspar is well-acted, sweetening his sound as he entices Max to join him for a drink, darkening his tone to add a touch of menace as he persuades Max to meet him at the Wolf Glen. Surprisingly, their scene together is under characterized, especially in comparison to Peter Schreier (Max) and Theo Adam (Kaspar) in Kleiber’s recording. This is especially frustrating because Janowski, having shaved a minute off his earlier recording, generates a far more foreboding atmosphere than he did in Berlin.
Undoubtedly many listeners will be drawn to this new recording to hear Lise Davidsen’s performance as Agathe. Her recording of Wagner and Strauss, released by Decca earlier this year and reviewed in these pages, revealed an astonishing talent and her performance here confirms those glowing reviews. Her major arias, “Wie nahte mir der Schlummer” (CD 1, track 14) and “Und ob die Wolke sie verhülle” (CD 2, Track 2) are vividly expressive, sung with seamless legato and a rich palette of vocal color. The final minutes of “Und ob die Wolke” are almost unbearably beautiful, and in both arias, her singing clearly draws a deeper level of intensity from the orchestra. Her singing alone is worth the cost of this new CD.
Sofia Fomina is an exceptionally thoughtful and touching Ännchen, very much the equal of Edith Mathis in the Kleiber recording. All the secondary roles are beautifully sung and well-characterized, while the work of chorus master Philipp Ahmann deserves special mention. His MDR Leipzig Radio Choir fully inhabit their characters; their intonation, balance and diction, especially in the familiar Bridal and Huntsman choruses, is laudable.
Kasper van Kooten’s liner notes are exceptionally informative and a full libretto is provided, though without biographies for the singers. Listeners who admire John Culshaw’s Decca opera recordings may be disappointed that this new version does not include the stage noises called for in the libretto. No matter, for the recorded sound is arguably the best this opera has yet received. Despite a few unsatisfactory moments, this new recording is a most distinguished and welcome addition to the catalog.
