Composer: Udo Zimmermann
Works: Scenes from Der Schuhu und die fliegende Prinzessin
Performers: Helga Termer (soprano), Jürgen Freier (baritone), Rundfunk-Sinfonie Orchester Leipzig, Peter Gülke (conductor)
Recording: Bethanienkirche, Leipzig, 1978
Label: BERLIN CLASSICS 0013012 BC
Udo Zimmermann, born in 1943, emerges as a significant voice in the realm of contemporary opera, blending eclectic styles and innovative techniques. His opera, Der Schuhu und die fliegende Prinzessin, commissioned by the Dresden Staatsoper and premiered in 1976, is based on Peter Hacks’ fairy tale. This work is an imaginative exploration of the human condition through the lens of fantasy, presenting a narrative that is both whimsical and incisive in its critique of societal norms. The story follows the Schuhu, a hybrid creature of man and owl, navigating a world of political intrigue and romantic entanglements, reflecting Zimmermann’s ability to infuse fairy tale simplicity with deeper existential questions.
The present recording, featuring Helga Termer and Jürgen Freier with the Rundfunk-Sinfonie Orchester Leipzig under Peter Gülke, captures the vibrant and contrasting textures of Zimmermann’s score. The orchestra’s performance is commendable, particularly in its handling of the score’s dynamic shifts—from ethereal, lyrical passages to more aggressive, dissonant sections that critique the brutal realities of the “normal” world. The dichotomy is particularly evident in the orchestration, where moments of serene beauty, often marked by delicate woodwind and string interplay, are sharply contrasted with jarring clusters and the use of Sprechstimme. This duality effectively mirrors the narrative tension between the dream world represented by the Schuhu and the harsh realities of human existence.
Technical aspects of the performance are noteworthy; the recording quality from 1978 remains remarkably clear, with a vivid soundstage that allows the listener to appreciate the intricate interplay between the voices and the orchestra. The use of a recorder quartet in the opening scene, which imitates a barrel organ, sets a charming folk-like atmosphere, cleverly inviting the audience into the opera’s unique sound world. Similarly, the closing scene’s transition into dreamy vocalises showcases Zimmermann’s skill in weaving together disparate musical threads into a cohesive whole. The singers, while perhaps not widely recognized, deliver a committed and expressive performance, navigating the challenging vocal lines with commendable agility and emotional depth.
The absence of a libretto in the recording notes may pose a challenge for some listeners, but the detailed booklet provides insightful commentary that helps contextualize the opera’s themes and musical language. For those familiar with the works of other contemporary composers, Zimmermann’s style draws parallels with the eclecticism found in operas by the likes of Hans Werner Henze and Wolfgang Rihm, yet he retains a distinctive voice that is uniquely his own. The contrasting musical episodes not only highlight the narrative’s shifts but also invite the audience to engage with the metaphysical undercurrents of the story.
Zimmermann’s Der Schuhu und die fliegende Prinzessin is a compelling contribution to the operatic canon, rich in both musical and thematic complexity. The present recording offers a valuable glimpse into the composer’s imaginative world, characterized by an innovative synthesis of late 20th-century techniques and lyrical beauty. Those intrigued by contemporary opera will find much to appreciate in this vibrant and thought-provoking work. The recording stands as a testament to Zimmermann’s prowess as an opera composer, prompting curiosity about his other operatic endeavors.