Die Bakchantinnen  (Wellesz)  (Albrecht; Thomas Mohr, Michael Burt, Harald Stamm, Roberta Alexander, Claudia Barainsky, Michelle Breedt)  (2-Orfeo Musica Rediviva C 136 012)
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Die Bakchantinnen  (Wellesz)  (Albrecht; Thomas Mohr, Michael Burt, Harald Stamm, Roberta Alexander, Claudia Barainsky, Michelle Breedt)  (2-Orfeo Musica Rediviva C 136 012)
OP3370. DIE BAKCHANTINNEN (Wellesz), Recorded 1999, Jesus-Christus-Kirche, Berlin, w.Gerd Albrecht Cond.Berlin Deutsche Symphony Orchestra; Thomas Mohr, Michael Burt, Harald Stamm, Roberta Alexander, Claudia Barainsky, Michelle Breedt, etc. (Germany) 2-Orfeo Musica Rediviva C 136 012. (Germany) 2-Orfeo Musica Rediviva C 136 012. Long out-of-print, Final Sealed Copy! - 4011790136226

CRITIC REVIEW:

“During the Weimar Republic (1919-1933), German opera flourished as never before. Not only popular hits such as Krenek's JOHNNY SPIELT AUF and Weill's THE THREEPENNY OPERA stem from this period, but also the famously scandalous works of Hindemith, as well as several much more traditional, but no less fascinating works by Strauss. A prominent role was also at this time reserved for Egon Wellesz (1885-1974). Wellesz was born in Vienna, where he studied piano, composition and musicology - one of Wellesz's teachers was none other than Schönberg. After 1918 Wellesz presented himself as a composer and scientist; he was professor of music history in Vienna from 1929 to 1938. The Austrian Anschluss near Nazi Germany forced him to flee abroad. Wellesz went to England and stayed there for the rest of his life. The work DIE BAKCHANTINNEN from 1930 was Wellesz's ninth opera. The subject is based on Euripides' tragedy PENTHEUS, which describes how Dionysos avenges his aunt Agave, princess of Thebes, for having his mother - Agave's sister - killed. At Dionysos, Agave and the other women of Thebes become intoxicated (they are the Bacchantes) and kill Pentheus, the son of Agave. It is not until Agave is sober that she realizes that she herself has helped bring about the divine retribution. The classicist subject is typical of Wellesz, who had a great interest in Greek antiquity. This was expressed not only in the choice of material, but also in a special kind of Bewegungschöre, created by Wellesz in collaboration with various directors and choreographers in an attempt to revive the dance of Greek theater. In terms of idiom, Wellesz moves between the extremes of his time; it is clearly more modern than Strauss' late Romantic tradition, but less innovative than Hindemith. Those Bakchantinnen has been recorded here by soloists, the Rundfunkchor Berlin and the Deutsches Symphonie-Orchester Berlin conducted by Gerd Albrecht. The latter has already proven several times that he can handle repertoire from this time exceptionally well and this performance underlines that once again.”

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