ZEMLINSKY: Der Traumgorge.(Review)

ZEMLINSKY: Der Traumgorge [] Racette, Martinez, Anthony, Karl; Kuebler, Schmidt, Volle; Opernchor der Hochschule fur Musik Koln, Gurzenich-Orchester/Kolner Philharmoniker, Conlon. Text and translations. EMI Classics 5 57087 2 (2)

Alexander von Zemlinsky's opera Der Traumgorge was almost a tragedy of music history. Slated for its premiere in October 1907, under the baton of Gustav Mahler, the opera was in rehearsal when Mahler resigned as director of the Vienna Hofoper. His replacement, Felix von Weingarmer, threatened by Zemlinsky's status as a composer-conductor, called off the production; the score languished in a storage room, and the world premiere of Der Traumgorge didn't happen until 1980, in Nuremberg.

This erudite, finely drawn and thoroughly ravishing work can be approached on many different levels -- as a symbolic, Freudian exploration of dreams and their relationship to reality; as a paean to the composer's tumultuous relationship with Alma Schindler (his pupil and lover, and later, of course, Mahler's wife); as an intriguing melding (by librettist Leo Feld) of at least four different literary sources; as Zemlinsky's attempt to reconcile the musical innovation around him with his traditionalist, tonal leanings; and in purely musical terms, as a sumptuous, Straussian, sometimes overwhelming listening experience.

Gorge, as the title implies, is a dreamer and -- as is apparent from his first utterance -- possibly insane. Instead of paying attention to Grete, his betrothed, he keeps to himself, reads furiously and spouts descriptions of fairy tales in response to Grete's entreaties. His dream woman (literally) is the light-bathed Princess (the Alma figure) who appears to him in sleep, temptingly describing the wonders of the unexplored world. Not surprisingly, the marriage to Grete doesn't take place. Act II commences three years later in a different village, where Gorge is now the protector of the destitute Gertraud, who is believed by the villagers to be a witch. Gertraud understands Gorge's inwardness and speaks his language of fairy tales and dreams. This, of course, enables him to love her and to leave behind the elusive (and empty) promises of that imaginary world in favor of earthly reality. (To underline this intriguing paradox, the Princess and Gertraud were played by the same singer in the Nuremberg premiere.)

In addition to the extravagantly pictorial orchestra ...