Composer: Richard Strauss
Works: Der Liebe der Danae
Performers: Lauren Flanigan (soprano) Danae, Peter Coleman-Wright (baritone) Jupiter, Hugh Smith (tenor) Midas, William Lewis (tenor) Pollux, Lisa Saffer (soprano) Xanthe, Michael Hendrick (tenor) Merkur, Tamara Mesic (soprano) Semele, Jane Jennings (soprano) Europa, Mary Philips (mezzo) Alkmene, Elisabeth Canis (mezzo) Leda, Rodne Brown, James Archie Worley, William Berges, Richard Crist (singers)
Recording: Recorded live in Avery Fisher Hall, Lincoln Centre, New York City on January 16th, 2000
Label: TELARC CD-80570 [three discs] [177’23]
Richard Strauss’s Der Liebe der Danae occupies a unique and often overlooked position in the operatic canon. Composed during a tumultuous period in Germany, it reflects a yearning for lightness and escapism amid the shadows of the late 1930s. The opera, subtitled “a lively mythology in three acts,” showcases Strauss’s deftness as a composer who can weave intricate musical textures that float like gossamer while exploring themes of love’s triumph over materialistic desires. Its libretto, adapted from a sketch by Hugo von Hofmannsthal, though not as profound as some of their earlier collaborations, still allows Strauss’s music to shine through, creating a vibrant tapestry that invites listeners into a fairy-tale realm.
The current recording, featuring the American Symphony Orchestra under Leon Botstein, is a commendable effort that highlights both the strengths and weaknesses inherent in this lesser-known work. Peter Coleman-Wright’s portrayal of Jupiter stands out for its vocal power and dramatic interpretation, particularly in his final acceptance of love’s limitations at the opera’s close. This moment is rendered with a sincerity that resonates deeply, encapsulating the opera’s overarching theme. His voice commands attention, although the overall performance draws strength less from individual virtuosity and more from the harmonious interplay among the ensemble.
Lauren Flanigan’s portrayal of Danae develops intriguingly, beginning with a somewhat tentative presence that blossoms as the opera unfolds. Her ability to convey emotional depth becomes increasingly compelling, particularly in the poignant moments that emphasize the character’s resilience and love. Soprano Lisa Saffer, as Xanthe, makes a notable impression, her bright timbre and expressive phrasing complementing Flanigan’s developing characterization. The Four Queens’ ensemble in Act Two is a highlight of vocal blend and rhythmic precision, showcasing the cast’s ability to navigate Strauss’s intricate vocal lines while maintaining dramatic coherence.
In terms of technical execution, the American Symphony Orchestra delivers with a combination of lyricism and playfulness, skillfully navigating Strauss’s lush orchestration. The recording, captured live, presents a clarity that belies the challenges often faced in such settings, allowing the listener to appreciate the complex interplay of orchestral colors. Botstein’s direction is marked by a keen sense of balance between the vocalists and the orchestra, ensuring that the music’s subtleties are not overwhelmed by the larger forces at play.
While this performance does not feature the superstars often associated with major opera recordings, it stands as an engaging and thoroughly rewarding interpretation of Der Liebe der Danae. It invites both seasoned Straussians and newcomers to explore its layered messages and splendid musicality. The recording holds its own against notable renditions, such as Clemens Kraus’s historical recording with the Vienna Philharmonic, yet offers its unique perspective on Strauss’s work. Repeated listening reveals the score’s complexity and depth, affirming that the music of Strauss remains as vital today as it was at its inception. This recording is a significant contribution to the contemporary understanding of Strauss’s oeuvre and is worthy of exploration for anyone with an interest in the richness of early 20th-century opera.
