Die Gespenstersonate (German Edition)

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Libretto (German)

Home This edition , German, Video edition: Check copyright status Cite this Title Die Gespenstersonate: Creator Reimann, Aribert, composer. Other Creators Lukas-Kindermann, Heinz, stage director. Lindemann, Klaus, film director.

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Die Gespenstersonate

Kaja Borris and William Dooley also acquit themselves well in relatively minor roles. This brings us to the two young lovers. Gudrun Sieber is given nothing at all to sing until the final scene, although what she gets there she delivers with generally sweet voice even if her quiet top notes could be even more delicately pianissimo to advantage. David Knutson is an absolute marvel.

Reimann had already written the part of Edgar in Lear for him, and his basically tenor voice with its seemingly infinite upward extensions in the counter-tenor range produces an extraordinary effect. Far from seeming disjointed between the various registers, he seems to shift from one tessitura to another with seemingly no effort whatsoever.

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He is on stage from beginning to end, and shows no sign of tiring. The orchestral playing under Friedemann Layer is rather recessed - it actually seems to move a couple of steps backward after the opening bars - and could perhaps have used a bit more body. The basic sound is fine, and properly tender and expressive in the final scene.

On the other hand, the stage production by Heinz Lukas-Kindermann is a bit of a liability.

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I wish that producers would recognise that in the case of a new opera it is essential that the audience should be able immediately to comprehend what is actually happening on the stage. The unit set which is present throughout gives no impression of an exterior in the opening scene, or of an interior in the second, and one has to rely on the booklet for essential information concerning the plot itself.

The booklet states that the recording was made at the actual first performance, but there is no sign of any audience and no final applause; perhaps it was staged specifically for television at the same time. Be that as it may, this is a valuable document in its own right, enshrining as it does a performance of an opera which is unlikely to receive a further recording for a long time. One also suspects that this recording may not remain in the catalogue for long, either. Now what we really need is a proper archive edition of modern twentieth century operas in stage performance from around the world.

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