Zemlinsky: A Florentine Tragedy

Editorial Reviews
Amazon.com
This is one of those typically decadent, fin-de-siècle, sexual-depravity operas that seem to be making a comeback, maybe because we've reached our own fin-de-siecle but have little to offer in the sexual-depravity department. Anyway, here's the plot: married couple is having a slight performance problem, so she looks for entertainment elsewhere. Hubby catches her in the act, murders her boyfriend, and the two find themselves so turned on by the murder that their lust for each other is rekindled. End of opera. What could be more fun than that? The music is luscious, the performance passionate. -- David Hurwitz

Zemlinsky: A Florentine Tragedy, Music, Donnie Albert, Alexander von Zemlinsky, Cologne Philharmonic, Deborah Voigt, David Kuebler, Classical, Classical Composers, Classical Music, German/Austrian 20th/21st Century Opera, Opera, Opera / Operetta / Oratorio

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Music Worth Reviving

A gorgeous, sinister, visceral short from Zemlinsky

Zemlinsky: A Florentine Tragedy

Manufacturer: EMI Records [All429]
ProductGroup: Music
Binding: Audio CD

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Zemlinsky - Der Traumgörge / Keubler, Racette, S. Anthony, Martinez, A. Schmidt, M. Volle, Kölner Philharmoniker, Conlon

Zemlinsky: Der Zwerg

ASIN: B00000630A
Release Date: 2001-11-13

Tracks:

Eine Florentinische Tragodie, Op. 16: Feurig Sturmend
Eine Florentinische Tragodie, Op. 16: 'So Langsam, Weib?' (Simone) (Bianca)
Eine Florentinische Tragodie, Op. 16: 'Ich Heisse Guido Bardi.' (Simone)
Eine Florentinische Tragodie, Op. 16: 'Wo Ist Mein Bundel?' (Simone)
Eine Florentinische Tragodie, Op. 16: 'Wackrer Simone, Genug.' (Guido) (Simone)
Eine Florentinische Tragodie, Op. 16: 'Bianca, Sag, Stunde Nicht Dies Kostbar Edle Kleid...' (Simone) (Bianca, Guido)
Eine Florentinische Tragodie, Op. 16: 'Wie, wenn ich die weisse Bianca forderte?' (Guido) (Simone) (Bianca)
Eine Florentinische Tragodie, Op. 16: 'Was gibt es Neues, mein Prinz?' (Simone) (Guido) (Bianca)
Eine Florentinische Tragodie, Op. 16: 'Wie er gleich einem schalen Kramer spricht!' (Bianca) (Guido) (Simone)
Eine Florentinische Tragodie, Op. 16: 'Genug! Zur Freude reif ist diese Nacht.' (Simone) (Guido)
Eine Florentinische Tragodie, Op. 16: 'Was meint der Fleck hier auf dem Tuch?' (Simone) (Guido)
Eine Florentinische Tragodie, Op. 16: 'Holdsel'ge Bianca, der schale Kramer langweilt mich.' (Guido) (Bianca)
Eine Florentinische Tragodie, Op. 16: 'Simone, jetzt buss ich nach Hause gehn!' (Guido) (Simone)
Eine Florentinische Tragodie, Op. 16: 'Ei, welch' ein Schwert!' (Simone)
Eine Florentinische Tragodie, Op. 16: 'Bianca, hol mein Schwert!' (Simone)
Eine Florentinische Tragodie, Op. 16: 'Narr, nimm mir vom Hais deine Wurgefinger!' (Guido) (Simone)
Eine Florentinische Tragodie, Op. 16: 'Und jetzt du dir!' (Simone) (Bianca)

Amazon.com

This is one of those typically decadent, fin-de-siècle, sexual-depravity operas that seem to be making a comeback, maybe because we've reached our own fin-de-siecle but have little to offer in the sexual-depravity department. Anyway, here's the plot: married couple is having a slight performance problem, so she looks for entertainment elsewhere. Hubby catches her in the act, murders her boyfriend, and the two find themselves so turned on by the murder that their lust for each other is rekindled. End of opera. What could be more fun than that? The music is luscious, the performance passionate. -- David Hurwitz

Customer Reviews:

Music Worth Reviving.......2003-08-18

Having worked on this piece under the direction of maestro Conlon with the Aspen Festival Orchestra, I truly came to realize how much depth there is to this work. The orchestration, textures, harmonic and melodic structuring, and libretto are all equally amazing. Zemlinsky really is one of the underestimated geniuses of recent times, and James Conlon is an absolute master of this music. No doubt in my mind that this recording ought to belong in all serious classical collections!

A gorgeous, sinister, visceral short from Zemlinsky.......2003-01-19

"Eine Florentinische Tragodie" is one of Zemlinsky's greatest masterpieces, and one of his most frequently performed operas, usually paired with his 1922 opera, "Der Zwerg" (They've entered the repertory in Europe--American companies don't seem to have discovered them yet). From it's opening bars, the score seeths with visceral energy, at times ecstatic, at others, sinister. The orchestration is an endless feast of opulent orchestral timbres. At only 55 minutes, it swoops towards it's "end with a twist" with terrible efficiency. In that short hour, it explores the themes of betrayal, cruelty, and love reclaimed. The closing is especially amazing in it's originality. Most famously, as Simone strangles the begging Guido Bardi, a solo violin glissando slides into the depths, as if representing his departing spirit. Suddenly, the darkness of the score dissolves into beautiful light, as Simone's act of strength inspires new love and adiration in Bianca, his unfaithful wife. As with most of the Conlon's Zemlinsky recordings, both performance and sound are great.