Metropolitan Opera Brass: Press

 

Opera orchestra musicians must have ‘servant hearts,” for their primary roles are accompanying the singing and providing the appropriate atmosphere and dramatic support to what goes on up above them. Yet the technical and stamina demands made on an opera orchestra are equal to and frequently exceed what is required on the symphonic concert stage.  New York’s Metropolitan Opera Orchestra ranks at the very top of such ‘pit’ orchestras, their almost legendary brass section exhibiting an impressive array of individual talent and critically acclaimed ensemble playing.  This new disc (released fall 2009) allows the general music buff as well as brass aficionado an excellent sound profile of this outstanding brass section. Up to as many as 21 individual brass players, plus a few percussion, join together on nine excerpts from the Romantic operatic repertoire.  John Sheppard has supplied the tasteful arrangements and former co-principal trumpet Mark Gould provides the steady baton.  The sound and blend are excellent and the overall presentation handsomely and thoughtfully produced, including informative notes by Sheppard on the music and personnel details for each item.

The opening track is the catchy Hunter’s Chorus from Der Freischütz (von Weber), with

8 horns antiphonally spaced into two stereo choirs, supported by 3 tenor trombones, 2 bass trombones, and timpani.  What a spectacular beginning! I knew I was hooked right from the first exuberant notes by the horns. Each successive track has a different instrumentation, ranging from the massive forces needed for the Royal Hunt and Storm from Les Troyens (Berlioz) to a small choir of 5 C trumpets, 2 B-Flat trumpets, and 2 bass trumpets for Evening Prayer from Hansel und Gretel (Humperdinck). The Berlioz array is particularly impressive: 2 cornets, 2 trumpets, 2 flugelhorns, 1 bass trumpet, 8 French horns, 3 tenor trombones, 2 bass trombones, 1 tuba, timpani, and 1 additional percussion.  The massive sound at full tutti is never overblown, distorted, or coarse, as can so often occur from lips of lesser mortals.

Principal Trumpet David Krauss delivers particularly elegant and technically assured solos throughout, but especially on Zerbinetta’s Aria from Ariadne auf Naxos (R. Strauss). His handling on cornet of the demanding coloratura line and ornaments comes across as effortless. Lyricism reigns here and at so many other moments in the album. Trombonist Damian Austin also handles with aplomb upfront spots in the subtler Clair de Lune from Les Troyens (Berlioz) as well as the concluding Wagner excerpt.  In the midst of the full ensemble items some exquisite, unacknowledged solos take the breath away, like the horn solos in the ever-popular Intermezzo from Cavalleria Rusticana (Mascagni). 

Two lesser-known excerpts from late Romanticism make a fine impression--a love duet from Arabella (R. Strauss) and Marietta’s Lied from Die tote Stadt (Korngold). The disc closes in a warm, golden manner with the Opening of Scene II from Das Rheingold (Wagner).  Part of that warmth comes with the inclusion of 4 Wagner Tuben to the normal alignment of 3 German-style rotary trumpets, 1 bass trumpet, 4 horns, 2 trombones, 2 bass trombones, tuba, and timpani. The Met had concluded Wagner’s  Ring cycle just prior to the recording session, so the excerpt was the ideal choice as the disc closer. The variety of brass timbres heard throughout the disc, whether it be the fine mix in the soprano range of cornets, flugels, and trumpets, or in the wonderful colors this horn section can offer up at a moment’s notice, hashigh attraction value and staying power.

Throughout the short program attention to detail and clarity of musical line makes this a wonderful recording to treasure for many years.  My only complaint might be that it is too short, just 40 minutes of music--but what minutes! Too often we get brass CDs of 75+ minutes, much of the program jammed with inconsequential material or poorly prepared music.  Not so here! I can heartily agree with Wynton Marsalis’ generous, yet accurate testimonial that opens the sleeve booklet: “…the vanguard of 21^st century brass playing is on display here…and it is a glorious thing to hear.”  Available at WorldofBrass, or Metropolitan Opera’s website:  HYPERLINK "http://www.metoperafamily.org/shop" http://www.metoperafamily.org/shop

Ronald W. Holz

 

The resounding majesty of brass has thrilled audiences since the    

days of Gabrieli  at the Cathedral of San Marco in Venice. 

The American tradition of brass playing was established by the great 

bandsmen and soloists of the 19th century and developed by the best 

orchestral brass sections of the 20th. Today, it is respected the world 

over for its power, beauty, and accuracy. This recording presents the 

pristine phrasing and golden brass tone that powers one of the world’s 

most beloved ensembles, The Metropolitan Opera Orchestra. These 

musicians are required, by trade, to evoke an encyclopedic range of 

emotions, thoughts, and psychological conditions with authority, preci- 

sion and quickness. Nightly, they create fire and excitement in America’s 

finest opera house with sweetly singing and soaring horns. From ringing 

open sounds, to muted effects, to pensive and tender quiet passages, the 

vanguard of 21st century brass playing is on display here... 

and it is a glorious thing to hear.