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Notes
In the 1920s and 1930s, there was a multi-faceted musical scene in culturally flourishing Czechoslovakia. When we take a look at the works by e.g. Pavel Haas, Gideon Klein, Hans Krása, Viktor Ullmann or Erwin Schulhoff, we can perceive a stylistically very similar course, conceivable against the given background as a ‘Prague School’ (as a counter-movement to the ‘Viennese School’). In Schulhoff’s early works, the features are a late Romantic approach influenced by Reger that later developed with an emphasis on rhythm in the direction of Expressionism and Neo-Classicism, also including jazz elements. The starting point is the ‘Don Juan’ story, but the underlying idea in Beneš’ and Schulhoff’s work is not to present the colourful seducer, but the fate of a man driven by his desires and needs who cannot even remotely find happiness and peace in constancy. In his opera, Schulhoff brilliantly manages to find a different dramaturgical approach, on the one hand, and at the same time to pay a kind of alienated homage to Mozart’s work, on the other.
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Reviews
Opera category - Nominee
International Classical Music Awards 2022
“… Conductor Bertrand de Billy, always an artist to reckon with, whips the Vienna Radio Orchestra into a frenzy when appropriate and guides the quiet moments with delicacy.”
Allan Altman – American Record Guide – September/October 2021
***** Coup de Cœur
Louis Bilodeau - Classica (France) – October 2021
Performance **** Recording ****
Christopher Cook – BBC Music magazine – June 2021
“… the range of Schulhoff’s score is fascinating. His music is distinctly eclectic, with the expressionism of Berg (some passages echoing Wozzeck, others anticipating Lulu) alongside clunkier moments of Hindemith-style neoclassicism, and with occasional forays into jazz… it’s the vivid orchestral music that comes out best in this performance under Bertrand de Billy … The tenor Raymond Very copes valiantly with the hugely demanding central role of Don Juan, Stephanie Friede sings the quartet of victims, and Iris Vermillion is wonderfully compelling as La Morte…” ***
Andrew Clements - The Guardian – 8 April 2021
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