*Rodica Vica (soprano); *Tiberius Simu (tenor); *Bogdan Baciu (baritone); *Alin Anca (bass); Rundfunk-Sinfonieorchester Berlin / Gabriel Bebeşelea
Capriccio C5340 [55’53”]
Producer Jens Schünemann
Engineers Eckehard Stoffregen, Susanne Beyer
Recorded December 11-14 5-6 2017 at RBB Sendesaal, Berlin
Reviewed by Richard Whitehouse
What’s the story?
Capriccio issues the first recording of a major discovery by George Enescu. Strigoii (Ghosts) sets the epic ballad by Mihai Eminescu, Romania’s national poet whose words the composer utilized in two major works (the other, his Fifth Symphony, also remained tantalizingly unfinished)
What’s the music like?
The period between his Second and Third Symphonies (1914-16) saw Enescu writing several major works utterly different from each other. To these can now be added Strigoii, composed at the end of 1916 and left as a detailed draft that was unknown until the 1970s, when Cornel Tăranu realized a version for voices and piano. This duly served as basis for the orchestration by Sabin Păuţa, adhering closely to the draft’s indications and resulting in a substantial piece such as extends the scope of Enescu’s creativity at a crucial point in his compositional career.
How to categorize Strigoii? This release describes it as an oratorio, though the absence of any chorus makes it more akin to a scenic cantata. Eminescu’s text offers numerous opportunities for theatrical treatment, but these are seldom taken – hence the restraint and inwardness that characterizes this work overall. The 45-minute whole falls into three parts which portray the coming together of the ill-fated lovers, redolent of Edgar Allan Poe in its aura of existential doom though with an acceptance of the inevitable as overrides its frequently lurid incidents.
Of the four vocalists, Tiberius Simu and Bogdan Baciu make the most of their minor roles as Arald and the Magus, while Rodica Vica brings lilting eloquence to that of the Queen. By far the most significant is the Narrator, and here Alin Anca excels in his handling of a part whose deploying of a highly personal ‘Sprechgesang’ acts as a thread of continuity over a score most notable for sustaining atmosphere through motivic and textural means; qualities such as Păuţa (who should now consider orchestrating the Op.19 Gregh songs) emphasizes in full measure.
The Pastorale-fantaisie is a delightful makeweight. Premiered in Paris in the wake of Enescu’s ‘breakthrough’ with Poème roumain, it sank without trace then went unheard until relocated by the present conductor and afforded its second hearing after 118 years. Drawing equally on Saint-Saëns and Franck, its eliding of the winsome and ominous is audibly that of the teenage composer whose Symphony in E flat from the previous year would surely have consolidated his reputation had it been performed at this time – pathos and elegance alluringly intertwined.
Does it all work?
Yes. Gabriel Bebeşelea has the (very different) measure of each work, securing a disciplined and committed response from the Berlin Radio Symphony Orchestra, and marking him out as a conductor to watch (he has a concert with the Royal Philharmonic at Cadogan Hall on May 1st). The sound has spaciousness with no lack of detail, while there are detailed notes on both pieces, but it could have been made clearer that verses 22-27 of the Eminescu poem were not set by Enescu. The English translation is idiomatic for all its smattering of grammatical errors.
Is it recommended?
Indeed. The Enescu discography is the richer for the inclusion of Strigoii, the last major work from Enescu’s maturity to be rescued from the limbo of incompleteness. Hopefully Bebeşelea will go on to record more music by this composer – he clearly has an innate feel for the idiom.
You can listen to this new release on Spotify:
You can read more about this release on the Capriccio website, and more on the conductor Gabriel Bebeşelea here. Details of his concert at the Cadogan Hall with the Royal Philharmonic ORchestra on 1 May are on the venue’s website