Franz Schubert - Fierrabras (Heroic Romantic Opera in Three Acts (1823))

Franz SCHUBERT (1797-1828)

Fierrabras D 796

Heroic Romantic Opera in Three Acts (1823)

Josef Protschka (Fierrabras), 

Karita Mattila (Emma), 

Cheryl Studer (Florinda), 

Brigitte Balleys (Maragond), 

Robert Gambill (Eginhard), T

homas Hampson (Roland), 

Robert Holl (König Karl), 

Laszlo Polgár (Boland), 

Hartmut Welker (Brutamonte)

Arnold Schoenberg Chor & The Chamber Orchestra of Europe

Claudio Abbado

Schubert's operas have not received the attention that they actually deserve. This is even the case with Fierrabras, which is his major work for the genre. Conductors, directors, opera lovers, etc. - they have all rejected this work. For what reason? Well, the history is that the taste of the Vienna audience required Italian operas (i.e. Rossini); unfortunately at the time Schubert tried to get his masterpiece staged. As a result, it was first staged some 60 years after Schubert's death, and then by people who evidently prioritized some stereotyped idea of "opera" before the peculiar musical ideas of a master. In fact, the opera was not staged (nor recorded) unabridged before the Abbado 1988 live performance caught on this set. Thus it never became a part of the opera repertoire. I suppose this is the main reason for the rejection.

Fierrabras is a romantic opera. Perhaps the plot is not the very best, naive and melodramatic as it is - but the same goes for Beethoven's Fidelio, which has a classical status. In fact, if you can stand the plot of Fidelio, you will have no trouble with Fierrabras which is built on a similar conception. In contrast to Fidelio, however, one can note how well Schubert develops his intricate music around the characters - it is an early attempt to use "leitmotifs".

So, arguably, the main feature of this work is the music itself, which is exceptionally fine and convincing. It contains some of Schubert's finest choral music, and many of its duets are wonderful compositions.

Abbado's concentrated and beautiful interpretation, an excellent ensemble, the fine orchestral playing, and a fine recording contribute to the excitement. This set is clearly a better choice than the abridged Myto recording with Wunderlich, which is the only alternative as far as I know. The only drawback is that no texts and translations are provided, only a summary of the plot. Nonetheless, warmly recommended!