Recording Review
Composer: Christoph Ernst Friedrich Weyse (1774-1842)
Works: Sovedrikken (The Sleeping Draught)
Performers: Guido Paevatalu, Eva Hess Thaysen, Elsebeth Dreisig, Gert Henning-Jensen, Michael Kristensen, Johan Reuter, Tina Kilberg, Stig Fogh Andersen, Sten Byriel Sokkelund Sangkor & The Danish Radio Sinfonietta, Giordano Bellincampi (conductor)
Label: Da Capo 8.224149/50
Duration: CD1 57:51, CD2 38:35
Release Date: November 2001
In the world of early Romantic opera, Christoph Weyse remains a figure whose contributions have been largely overlooked, particularly outside his native Denmark. This recent release of Sovedrikken (The Sleeping Draught), the first complete recording of the work, invites a reexamination of Weyse’s importance within the operatic canon. The Danish Radio Sinfonietta, under the baton of Giordano Bellincampi, delivers a performance that highlights the work’s charm and intricacies while situating it within its historical context.
Weyse composed Sovedrikken in the early 19th century, drawing heavily from the traditions of German Singspiel and the influence of Italian opera buffa. The opera’s libretto, adapted by the esteemed poet Adam Oehlenschläger from a text by Bretzner, showcases a narrative teeming with comedic misunderstandings and romantic entanglements. The overture, derived from the final movement of Weyse’s second symphony, sets an energetic tone, echoing the quicksilver wit that permeates the opera.
The orchestration throughout Sovedrikken is noteworthy, characterized by its bright harmonies and swift transitions. The work adheres to the conventions of its time, with a clear delineation between comic and serious elements, encapsulated in the varied arias and ensembles that Weyse deftly crafts. For example, Charlotte’s lyrical romance in Act 1 features a memorable melodic line that captures her emotional depth, contrasting with the buffo aria of the hapless Saft, whose attempts at courtship are met with comical failures.
Bellincampi’s direction is particularly effective in balancing the operatic elements; he maintains a lively tempo that allows the comedic aspects to flourish while ensuring that the lyrical moments are given their due weight. The Danish Radio Sinfonietta’s playing is crisp and engaging, though at times the orchestration can feel thin, suggesting a chamber-like intimacy rather than the grandeur of a full opera house. This is especially evident in the ensemble pieces where the voices occasionally overpower the orchestral texture.
The casting choices lend a nuanced performance to the character dynamics. Eva Hess Thaysen as Charlotte and Elsebeth Dreisig as Rose deliver their parts with exceptional clarity and expressiveness, their voices blending beautifully in the duets. However, Gert Henning-Jensen’s portrayal of Walther occasionally lacks the necessary confidence and projection, which can detract from the ensemble’s cohesiveness during pivotal moments. This inconsistency is a reminder of the challenges present in recording operatic works, where the interplay between singers must be meticulously balanced.
Weyse’s significance in the evolution of Danish opera cannot be overstated. His work represents a bridge between the German Singspiel tradition and the more integrated operatic forms that would come to dominate the 19th century. The revival of Sovedrikken serves not just as a rediscovery of a charming opera but also as an essential piece of musical heritage, illustrating the broader cultural currents of the period. The inclusion of a comprehensive booklet provides valuable context, detailing the development of Singspiel in Denmark and Weyse’s unique contributions.
The recording quality is commendable, with a well-balanced mix that allows for an appreciation of both the vocal and orchestral components. The clarity with which the Danish Radio Sinfonietta’s playing is captured serves to enhance the listener’s experience, ensuring that the lively motifs and intricate counterpoints are effectively conveyed.
In conclusion, the Da Capo recording of Sovedrikken is a significant milestone in the ongoing effort to bring attention to Weyse’s operatic legacy. While there are moments where the performance choices may not fully align with the work’s potential, the overall interpretation captures the essence of Weyse’s style and the spirit of early Romantic opera. This recording is an invaluable resource for those interested in the evolution of operatic forms and the rich tapestry of Denmark’s musical history. The reemergence of Weyse’s work in contemporary discourse is not only a tribute to a neglected composer but also an invitation to explore the joys of a vibrant musical past.
