National Theatre

The idea of a piccolo concerto might have seemed far-fetched at the beginning of the 20th century, but numerous composers have now expanded its role as the highest instrument of the orchestra into a true solo voice. With this recording Francesco Viola has brought together four unknown works by Eastern European composers – the Romanian Andreas Baksa; Slovenian composer Uroš Krek; German-Croatian composer Boris Papandopulo; and Hungarian composer Frigyes Hidas whose Oboe Concerto is recorded here in Francesco Viola’s transcription for piccolo. All of these concertos are filled with atmosphere, passion and high spirits.

The international success of Faust after its premiere in 1859 completely overshadowed all of Gounod’s subsequent operas. He had known Goethe’s masterpiece for two decades and brought to the text his gifts for memorable melody and rich orchestration. Added to this, the plot of Faust’s ageing and the heroine Marguerite’s redemption, offered the opportunity for the most spectacular stage effects. Heard here in its 1864 London version with an additional air and without spoken dialogue or ballet, Faust represents 19th-century French opera at its peak.

Janácek’s The Cunning Little Vixen has of late been appearing ever more frequently on the stages of opera houses worldwide. Two seemingly different worlds – the animal and human – blend together in their relentless cycle and consequently the work poses a great challenge to staging teams. Janácek’s specific musical phraseology brings to the story a unique emotional depth which, given a heart-felt interpretation, resonates in the audience’s souls. In Supraphon’s catalogue this masterwork features in two complete recordings – those by the conductors Bohumil Gregor (1970) and Václav Neumann (1980). The latter had previously recorded the opera back in 1957 with the soloists Hana Böhmová (Bystrouška, the vixen), Rudolf Asmus (Forester), Libuše Domanínská (Goldskin, the fox) and other superlative singers.

This Edition presents the “Magnificent Seven” and the “encore” in optimum technical quality. In the mid-Fifties of the last century, with the Cold War freezing relations between East and West, the English record label Decca decided to record a series of Russian operas with the Belgrade National Opera. Belgrade in the Yugoslavia of those days under Josip Tito was more open to “the West” than the Warsaw Pact countries gathered under the wing of the Soviet Union. The deal had been struck by former Decca manager and successful promoter of east European folklore in the USA, record executive Gerald Severn. Thanks to his excellent contacts, Decca director Arthur Haddy eventually obtained a visa and travelled to Belgrade to find a suitable recording venue, which turned out to be the cinema in the House of Culture in the city centre.