INGE BORKH - OPERATIC RECITAL

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INGE BORKH
OPERATIC RECITAL

Arias from
Rusalka · Alceste · Cavalleria rusticana
Macbeth · L'enfant prodigue
La forza del destino
Un ballo in maschera
Andrea Chénier · Oberon
Adriana Lecouvreur
London Symphony Orchestra
Wiener Philharmoniker
Anatole Fistoulari · Rudolf Moralt
Josef Krips
Int. Release 01 Sep. 2014
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Track List

Antonín Dvorák (1841 - 1904)
Rusalka, Op.114

sung in German

Act 1

Christoph Willibald von Gluck (1714 - 1787)
Alceste, Wq. 37

sung in German

Act 1

Pietro Mascagni (1863 - 1945)
Cavalleria rusticana

Giuseppe Verdi (1813 - 1901)
Macbeth

Act 2

Claude Debussy (1862 - 1918)
L'enfant prodigue - scène lyrique, L.57

5.
5:37

Inge Borkh, London Symphony Orchestra, Anatole Fistoulari

Giuseppe Verdi (1813 - 1901)
La forza del destino

Act 2

Un ballo in maschera

Act 2

Macbeth

Act 1

Umberto Giordano (1867 - 1948)
Andrea Chénier

Act 3

9.
4:37

Francesco Cilèa (1866 - 1950)
Adriana Lecouvreur

Act 1

Inge Borkh, Wiener Philharmoniker, Rudolf Moralt

Carl Maria von Weber (1786 - 1826)
Oberon, J.306

Act 2

Ludwig van Beethoven (1770 - 1827)
Inge Borkh, Wiener Philharmoniker, Josef Krips

Total Playing Time: 1:17:24

. . . Inge Borkh established a high reputation as a charismatic soprano, borne out by these recordings . . .

Borkh is working with three different conductors here, but there is a consistency in the way each performance manages to give a sense of how the aria fits into the opera as a whole. Lady Macbeth's "La luce langue", conducted by Anatole Fistoulari, has a suitably meditative opening, but by the end of the first section it is a moment of decision, one that comes in definitive form in the final lines. And Lady Macbeth's Act I aria (the letter scene, but with the actual reading of the letter cut), conducted by Rudolf Moralt, finds the aristocratic leanings in the music, reflecting the character's ambitions. Borkh's voice . . . wins points for agility in the staccato notes ignored by most sopranos, and the top B at the end is all one could ask. Similarly, "Son giunta", from "La Forza del Destino", is performed by Borkh and Moralt with the urgency that this moment requires in the complete opera. Rusalka's song to the moon (in German, with Fistoulari) has the sweet, youthful quality needed for this early moment in the story . . . Beethoven's concert aria "Ah! perfido" gets the most specific and rewarding interpretation of all. Borkh and Josef Krips, with his familiar big-band Beethoven and the Vienna Philharmonic, make it sound like a rewrite of Fiordiligi's "Per pietà", from "Cosi Fan Tutte". Beethoven was offended by what he viewed as da Ponte's scandalous libretto for Mozart's opera, and this elegant, aristocratic performance comes across as a corrective.