

8.660434-35
Originally recorded in 2019
Classical
Opera
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About
Blindekuh (‘Blind Man’s Buff’) was Johann Strauss II’s sixth operetta and his least known. Neglected for well over a century, it was revived by Dario Salvi and the forces on this album in January 2019. The work’s initial lack of success is hard to explain but it may have been caused by a confusing libretto – the music itself is vibrant and captivating with waltzes, polkas, mazurkas, marches and bel canto arias. Performed in a concert version without dialogue, and in accordance with performing traditions, this production restores the work to the status of one of Strauss’ most melodically seductive works. Dario Salvi is a Scottish-Italian conductor, musicologist and researcher who specializes in the restoration and performance of rare works. Salvi has conducted symphonic works, opera and operettas across Europe, the Middle East and the US. His passion is the rediscovery and performance of long-forgotten masterpieces by the likes of Suppé, Meyerbeer, Rumshinsky, Genée, Auber, and many others. He is collaborating with Naxos on recording a series on Romantic ballets, including works by Minkus, Pugni, Adam and others, and a series on Auber’s overtures and orchestral music. Two other important projects include recording the last three missing operas by Johann Strauss II and three never before recorded operatic works by Giacomo Meyerbeer.
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Reviews
“… The cast is headlined by Roman Pichler’s Hellmuth, which is sung with a pleasing lightness of tone and clarity of diction. Similar stylistic excellence marks Emily K. Byrne’s Elvira and Julian Rohde’s Johann. Daniel Schliewa brings a lively degree of personality to Herr Kragel’s stratospheric Act 2 aria “Jung und schön,” while Martina Bortolotti’s Waldine is silver-toned and chorus member Peter Petrov’s Zsupan-like tonal quality is a welcome surprise in the small part of the Landrath von Silbertau. Kirsten C. Kunkle imbues the role of Arabella with fine diction and tone, as does James Bowers the part of Adolf Bothwell. Robert Davidson’s Herr Scholle sings a bit strictly in Act 1 but settles nicely into the part as the drama proceeds. Throughout, the SPO Chorus’s singing is full-bodied, resonant, and warm. Salvi’s tempos all move smartly: he’s a conductor with a fine sense of Strauss’s style and knows how to pace things well. Accordingly, even if Blindekuh doesn’t turn the theatrical world on its head, what we’ve got here is a well-written miss. Perhaps that what the piece has always been; regardless, it’s great to finally have the score on disc – and so sympathetically played and sung to boot.”
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