Martinů The Tears of the Knife; Comedy on the Bridge Esther Dierkes, Elena Tsallagova, Andrew Bogard; Staatsorchester Stuttgart/Cornelius Meister Capriccio C5477 64:31 mins
Martinů was one of the 20th-century’s great operatic experimenters. Turning his back on Wagner, verismo and, for the most part, Czech operatic traditions, his musical and literary inspiration ranged from medieval mystery plays to Monteverdi. The oddest of all his many operas is the one-act Les larmes du couteau (The Tears of the Knife) of 1928 to a Dadaist libretto with erotic, almost pornographic overtones. Composed at the height of his fascination with jazz, the score is terrific fun even if the on-stage activities make little sense. The soloists, in this first recording of the French original, give a credible ensemble performance, but don’t quite seize their opportunities for characterisation. The band throws itself into the proceedings with gusto and Cornelius Meister’s direction, aided by a vivid, well-balanced recording, is always convincing.
The Comedy on the Bridge is far more satisfactory. Based on a 19th-century Czech farce, its simple humour, chirpy neo-classical score enlivened by moments of wicked pastiche, and undemanding vocal parts have made it something of a favourite with student ensembles. Originally conceived for radio, it works well on disc although the English translation used here isn’t always easy on the ear. Overall, the Staatsoper Stuttgart pace the comedy effectively with a strong cast: Esther Dierkes’s hapless Josephine, caught on the bridge between enemy lines, is a delight and Andrew Bogard is splendid as the amorous Brewer.
Jan Smaczny
