Perfect gifts for your opera-loving friends

It`s getting pretty close to the eve of Ho-Ho-Ho day, and you`ve got a friend for whom you haven`t as yet bought a present.

What to do? What to get him, or her. But wait a minute. Isn`t that friend the one who is an opera nut from the word go? Indeed so. And lucky you, here I am to help you solve your problem.

I know, you don`t want to ask your friend, "Have you got such-and-such a recording?" Of course not. You want your gift to be a surprise. Therefore, let me tell you about some operas just released, quite a variety, and the chances are good that you may find something your opera lover does not already have. I`ll be shorter than I usually am in my comments. I`ll try to crowd in as many suggestions as possible. Here we go.

PUCCINI: Manon Lescaut. Maria Guleghina, Manon; Lucio Gallo, Lescaut; Jose Cura, Des Grieux. Coro del Teatro alla Scala; Orchestra del Teatro alla Scala; Riccardo Muti, conductor. Deutsche Grammophon 463 186; 2 CDs.

Even if your friend has a recording of this opera, this is a case where just one recording of a particular work is not enough.

I like this one for a number of reasons. First the opera itself. It`s one of Puccini`s great ones, although it is not one of his most popular works. The current issue of Schwann`s recordings catalog Opus lists seven complete recordings, and a great many recordings of selections from the opera, but this, of course, is nothing compared with the number of recordings of "Madama Butterfly," "Tosca," "La Boheme" or even "Turandot." Nevertheless, it`s fine opera.

I like the fact that the careers of the principal singers are at a relative early stage. It`s always great enjoyment to watch talented people grow. As far as conductor Riccardo Mutti - of recent years conductor of the Philadelphia Orchestra - is concerned, he conducts the ensemble with a thorough mastery that shines through every aspect of this recording. But, if not "Manon Lescaut," how about...

MASSENET: Manon. Angela Gheorghiu, Manon; Roberto Alagna, Des Grieux; Earle Patriarco, Des Grieux. Orchestre Symphonique et Choeurs de la Monnaie; Antonio Pappano, conductor. EMI 57005; 3 CDs.

Yes, we indeed do have two operas written after the novel "Manon Lescaut" by Abbe Prevost, the Puccini just reviewed and this one by Massanet. Puccini`s opera was premiered in 1893 and Massage`s in 1894. And yes, there is a story behind the fact that both composers wrote their operas to the same source and released them at just about the same time. But that will have to await telling at another time.

This Manon is not really a popular opera, at least in these times, but it always has remained in the repertoire. Pavarotti has recorded it. So has Beverly Sills, Maria Fareni and Montserrat Caballe.

And that group of singers constitutes heavy artillery.

You might take a chance on this one. Maybe your friend always intended to buy the "other" Manon but just hasn`t got around to it.

DONIZETTI: La Favorite. Vesselina Kasarova; Ramon Vargas. Munchner Rundfunkorchester; Marcello Viotti, conductor. RCA Red Seal 66229; 2 CDs.

Here`s another case where the composer is well-known - actually, one of the best known composers in all of opera - but the opera under consideration here, "La Favorite," has never reached the state of high popularity. It`s listed in Opus with but four recordings.

This recording boasts a splendid case of principals. In a career that is but one decade old, Vesselina Kasarova has established herself as one of opera`s leading mezzo-sopranos. The young Mexican singer, Ramon Vargas, is one of the most sought-after tenors of the day. His internationally successful career has done nothing but climb ever since his debut in 1983.

As with the operas of Massanet, your friend may have a number of Donizetti`s works but perhaps not the less popular "La Favorite." It`s a fine opera. He should have it. Want to take a chance with this one?

PROKOFIEV: Semyon Koto; Kirov Opera & Orchestra Marinsky Theater, St. Petersburg; Valery Gergiev, conductor. Philips 464 605` 2 CDs.

What a splendid job conductor Valery Gergiev and the Kirov Chorus and Orchestra are doing in their project of recording Sergei Prokofiev`s operas.

Already we have had "The Fiery Angel," "War and Peace," "The Gambler" and "Betrothal in a Monastery." We can certainly hope that the project will continue apace. Personally, I look forward to "The Love of Three Oranges," which, to my complete surprise, is not even listed as available in Opus.

Those of us who love opera, like your friend, are simply going to have to accept this reality: We`re not going to have many opportunities to hear Prokofief`s operas in person, at least in this country. So, here`s an opera you might buy for your friend, with the reasonable expectation that he or she does not already have it. But let me tell you this much about it. I`ll quote the first paragraph of the notes written by Andrew Huth that accompany the opera. He asks:

"How much enthusiasm can we be expected to raise for an opera composed at the height of Stalin`s purges, with a story involving brave Bolsheviks, horrid reactionaries and a happy ending with the timely arrival of the Red Army? Can such an opera be any good?"

And he answers his own question:

"Yes, it can."

Politics, and the excesses that often accompany it, aside, it`s a fine opera.

PUCCINI: La Boheme. Andrea Bocelli, Rodolfo; Barbara Fritolli, Mimi; Eva Mel, Musetta; Paolo Gavanelli, Marcello; Natale de Carolis, Schaunard. Israel Philharmonic; Zubin Mehta, conductor; Decca 464 060; 2 CDs.

This recording of Puccini`s "La Boheme" probably enjoyed good sales the day it first became available, Nov. 7, 2000.

The reason? The tenor who sings the role of Rodolfo is Andrea Bocelli.

Bocelli is one of the hottest singing products of the day. His TV appearances, his concerts and his recordings have raised him to superstar ranking. Even people who know little of classical music have become his fans.

This is Bocelli`s first recorded opera. It is accomplished very well with a good cast throughout, all under the able direction of Zubin Mehta and the Israel Philharmonic Orchestra.

Does your friend have a recording of "La Boheme?" Of course he does. He could hardly call himself an opera lover if he didn`t. Wouldn`t be at all surprising to learn that he had several.

On this one, try to determine if you friend particularly likes the singing of Bocelli. He probably has heard him. With all the exposure the tenor has had, how could he have missed hearing him? If he says he favors the tenor, get your friend this recording.

REIMANN, Aribert: Lear. Dietrich Fischer-Dieskau, Lear; Helga Dernesch, Goneril; Colette Lorand, Regan; Julia Varady, Cordelia; Rolf Boysen, Narr; Chor der Bayerischen Staatsoper; Bayerisches Staatsorchester; Gerd Albrecht, conductor. Deutsche Grammophon 463 480; ADD; 2 CDs.

Tell me about your friend. When it comes to music, is he or she adventurous - or a pussycat? Does your friend shrink from the dodecaphonic operas of Schoenberg and Berg? Wouldn`t give Schoenberg`s "Moses and Aron" or Berg`s "Lulu" or Wozzeck place on the shelves of his or her music library? How about Philip Glass` "Akhnaten" or "Einstein on the Beach?" No? What you`re telling me is, get your friend anywhere beyond Puccini and your friend freaks out, right? This definitely is not for your pussycat.

Aribert Reimann`s "Lear" is a work after Shakespeare`s "King Lear." This is a re-issue of a 1978 live recording of the opera and its first release on compact disc. The story pretty much follows Shakespeare`s. The great Dietrich Fischer-Dieskau sings the title role; quite obviously it dominates the opera. Conductor Gerd Albrecht does what might seem to us an impossible task of keeping all his forces from thundering into absolute chaos.

Fisher-Dieskau states in the notes he wrote for the recording that when he started to learn the role, "I quailed at the feeling of total helplessness that any singer, however familiar with new (emphasis mine) music, must feel when faced with an orchestra which, far from supporting him, often uses quarter-tones in its carpet of sound," adding that "for long stretches the duration of the notes is not precisely notated."

There you go, quarter-tones, which means, for instance, a tone between, say C and C sharp, which doesn`t even exist on the piano and is unplayable by most instruments except stringed instruments without frets and the trombone. And notes that are not written to be played for any definite length of time. That`s pretty heavy stuff.

So, in spite of my snide remark about your friend possibly being a pussycat, make sure he or she is willing to jump neck deep into the - for most listeners - strange and often savage waters of cacophony. Listen, I don`t think it would happen, but I suppose you could end up losing a friend.

And that, dear readers, is my list of suggestions that might help you find just the right work for your opera-loving friend at Christmas. Happy Holidays!

(c) Copley News Service

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Author: King Durkee