Composer: Heitor Villa-Lobos
Works: Forest of the Amazon
Performers: Renée Fleming (soprano), Chorus of the Moscow Physics and Engineering Institute, Moscow Radio Symphony Orchestra
Recording: November – December 1994 and April 1995, Studio 5, State House for Broadcasting and Recording, Moscow
Label: Delos
Heitor Villa-Lobos, a titan of Brazilian music, weaves a vivid tapestry of sound in his late work, Forest of the Amazon, composed in the twilight of his life during late 1958 and early 1959. Originally conceived as a score for the ill-fated Hollywood film Green Mansions, the piece ultimately emerged as a symphonic poem that captures the essence of the Amazon’s lush ecosystem and its indigenous culture. This recording, featuring soprano Renée Fleming in one of her early performances, presents a rare opportunity to engage with a composition that remains largely unexplored in the concert repertoire.
The performance, conducted by Alfred Heller—a former protégé of Villa-Lobos—exhibits a deep understanding of the composer’s aesthetic, as evidenced by the orchestral color and rhythmic vitality that characterize this score. Heller’s nuanced approach effectively balances the large forces at play, which include an extensive array of percussion instruments and a male chorus intended to evoke Amerindian chants. The orchestration is typically extravagant, yet Heller manages to navigate its complexity, allowing moments of clarity to shine through the dense textures. However, the episodic nature of the work, divided into 20 segments, raises questions about coherence and thematic development. While some movements are striking, such as the lush orchestral passages reminiscent of the rainforest’s teeming life, others lack a sense of direction, often feeling like a series of disconnected vignettes.
Fleming’s contribution is significant, her voice imbued with a luminous quality that brings a lyrical beauty to the four songs sung in Portuguese. Her interpretation of “Sentimental Melody” is particularly noteworthy; it showcases her ability to convey deep emotion through subtle phrasing and dynamic control. Yet, the absence of textual clarity for the male chorus, which is presented as a somewhat abstract chant, diminishes the impact of their contribution. The chorus might have benefitted from a more defined role within the narrative framework of the piece, as they often feel like an afterthought rather than integral participants in the unfolding musical drama.
From a technical standpoint, the recording captures the vibrant orchestral palette with commendable clarity. The engineering allows for the intricate interplay of instruments to be appreciated, yet the balance between soloist and orchestra occasionally tilts, leading to moments where Fleming’s voice struggles to assert itself amidst the orchestral swell. Despite these fluctuations, the sound quality remains generally robust, enabling listeners to experience the sonic richness that Villa-Lobos intended.
In juxtaposition to other adaptations of film music, such as Vaughan Williams’ Sinfonia Antartica, Forest of the Amazon does not achieve a similar level of thematic cohesion. The episodic structure, while reflective of the film’s narrative, ultimately detracts from the potential for a unified symphonic experience. A more judicious selection and arrangement of the material could have enhanced the work’s overall impact, rendering it a more digestible and engaging listening experience.
This recording serves as a valuable documentation of a lesser-known work by Villa-Lobos, and while it may resonate primarily with dedicated enthusiasts of his music, it also invites curiosity from broader audiences. The combination of Fleming’s radiant performance and Heller’s insightful conducting provides a compelling, if imperfect, window into Villa-Lobos’s complex musical world.
