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Gerhard: The Duenna

Roberto Gerhard (Composer), Antoni Ros Marbà (Conductor), Opera North Chorus (Orchestra), English Northern Philharmonia (Orchestra), Claire Powell (Performer), et al. | Format: Audio CD

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Product details
Disc: 1
1. La Duena: Act I - Scene 1: 'Ah! Devil Take This Plaguey String!'
2. La Duena: Act I - Scene 1: 'What Vagabonds Are Those I Hear?'
3. La Duena: Act I - Scene 2: 'Peace, Booby, Peace I Say.'
4. La Duena: Act I - Scene 2: 'Hey, Ferdinand, I Say.'
5. La Duena: Act I - Scene 3: 'But, My Charming Duenna,...'
6. La Duena: Act I - Scene 3: 'I Suppose You've Been Serenading Too,...'
7. La Duena: Act I - Scene 3: 'I'm Astounded!'
8. La Duena: Act I - Scene 4: 'Clara! Clara, Clara!'
9. La Duena: Act I - Scene 5: 'I Tell Thee, Father,...'
10. La Duena: Act I - Scene 5: 'Who's She?'
See all 11 tracks on this disc
Disc: 2
1. La Duena: Act II - Scene 1: 'When A Tender Maid...'
2. La Duena: Act II - Scene 1: 'Well, My Friend, Have You Softened Her?'
3. La Duena: Melodrama And Interlude: 'Why I Must Confess...'
4. La Duena: Act II - Scene 2: 'Was Ever Truant Daughter'
5. La Duena: Act II - Scene 3: 'Indeed, My Good Friend'
6. La Duena: Act III - Scene 1: 'Jam est hora surgere.'
7. La Duena: Act III - Scene 1: 'Antonio! Don Ferdinand Is At The Porch,...'
8. La Duena: Act III - Scene 1: 'Turn Thee Round I Pray Thee.'
9. La Duena: Act III - Scene 2: 'Why, I Never Was So Amazed...'
10. La Duena: Act III - Scene 2: 'Don Isaac Mendoza.'
See all 11 tracks on this disc

Customer Reviews

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Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com: 5.0 out of 5 stars  2 reviews
5.0 out of 5 stars Beautifully Crafted Atonal Comedy 26 Jan 2012
By James S. Eisenberg - Published on Amazon.com
Amazon Verified Purchase
Arnold Schoenberg's VON HEUTE AUF MORGEN was the first attempt at a "comic" opera using the twelve tone technique. It is not really very funny, and despite its gorgeous orchestration, totally lacks lightness of touch. (I am always reminded of those laugh fests SALOME and ELEKTRA when I listen to it !)
Schoenberg's Spanish pupil Roberto Gerhard however, pulled off a substantive comedic success with his setting of Sheridan's THE DUENNA. The music, often gossamer light, perfectly suits the text, although it too has some very dark edges. At key points Gerhard inserts Spanish rhythms, and creates fascinating pseudo tonalities. This is a remarkably inventive score.
The performance is first rate. Veteran Richard Van Allen as Don Jerome is wonderful. (Is there anything that he doesn't sing well ?), Eric Roberts is really funny as Don Isaac, a role tinged with an anti-semitic slant in Sheridan's play, but almost totally missing in the opera. Susannah Glanville's dark voice really illuminates Donna Luisa's beautiful aria in the second act. Neill Archer is excellent as Don Antonio, a role once sung by Peter Pears.
Antoni Ros-Marba is the superb conductor. He really brings this tricky score to life.
The sound recording is excellent. There are excellent notes and a full libretto
6 of 12 people found the following review helpful
5.0 out of 5 stars la única ópera de un genio 12 April 2000
By J. B. Fresno - Published on Amazon.com
¿Como es posible que una obra así haya tardado 45 años en ser estrenada (1947-1992) y 50 en ser grabada?. "La Dueña" pasa por ser la única ópera en el catálogo del gran compositor catalán, escrita en el año 1947 se encuentra justo a medio camino entre las dos grandes fases de la obra de Gerhard: la primera más apegada a la tradición, a un cierto folclorismo y a la tonalidad; y la segunda, sin duda más interesante, marcadamente atonal, tímbricamente sorprendente y de una gran audacia. "La Dueña", como digo, comparte, no obstante elementos de ambas épocas. El libreto puede situarse en la tradición de la "comedia de enredo" que va de Las Bodas de Fígaro a "Rake Progress" y se ambienta, como la primera, en Sevilla. A pesar del título en castellano, el libreto está en inglés. En cuanto a la versión que nos ocupa no podemos sino alabar su excelencia. Los interpretes, en su mayoría, conocían la obra a la perfección ya que fueron los responsables del estreno en enero de 1992 en el madrileño Teatro de la Zarzuela. Mención especial merece la labor de Ros-Marbá, un director que conoce y ama esta música como nadie y que hace que la orquesta se convierta en la autentica protagonista de esta versión que, por otra parte, es la única que existe en el mercado.
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