Enescu: Strigoii

 

In the physical media, Romanian composer George Enescu's Strigoii is labeled as an oratorio, even though there is no chorus present in the work. Additionally, while Capriccio translates Strigoii as Ghosts, apparently it can also be translated as The Vampyre. Suffice to say, two different tales could be told depending upon who is translating.

To add injury to insult, my recording has no liner notes or texts or translations, an odd situation for the normally terrific Capriccio classical-music label. Essentially, the back cover is simply repeated on the inside, with the addition of a track list with timings. Nothing else. Even the track titles are only in Romanian, thus I am given no clues that route either. So, if I sound lost, that is probably the reason why.

Back to the music, whether an oratorio or cantata, to my ears, the 45-minute work sounds like a radio play. While there are vocal solos, each given a character name on the back cover, the majority of the runtime is given over to spoken narration. Romanian bass Alin Anca seems fine as the reader, however, he shares no emotional stakes as to what is going on in the story, I assume to keep the story moody, thus I feel doubly lost as a listener.

All I have left to rely on is George Enescu's music. This I have no problem with in Strigoii, even considering I have never been a fan of the composer's brand of thick chromaticism. The music is unusually colorful, keeping the orchestral forces in check due to the narrative at the fore, but employing some creative combinations of instruments, including percussion. Truthfully, most of the runtime sounds like underscoring to me, but is quite affable as such. The solo vocalists are fine, but are never around for long, so it doesn't seem beneficial to dwell on their specific capabilities, yet I will say they sound of a strong Slavic quality singing-wise.

You wouldn't know it from the cover, but there is another orchestral work receiving its world premiere on this recording as well - Pastorale Fantaisie. I am more at home here, for the music translates for itself as a purely orchestral piece. Lush undulating strings opens the piece with contentment, yet also just a hint of nostalgia. Enescu eventually opens into stormier musical pastures, utilizing brass and winds a fair bit, but true to its title, darkness never lasts for long. A beautiful work, one which never outlasts its 10-minute runtime.

I haven't heard of the young Romanian conductor Gabriel Bebeșelea, but the Berlin Radio Symphony Orchestra seems to respond to him with great interest. Certainly, the disparate orchestral sections which appear here and there sound delightful, making for a fine recording of this unusual work from Enescu. Capriccio seems to balance everything competently, making each performing aspect a special highlight.

I must have received a repress of this recording of Strigoii, for online reviews and music databases speak of and list liner notes and translation credits. I have none with my recording. I think I would have a greater appreciation for what is going on in the music if I had these, but as it is, I can only stir up only so much enthusiasm without. The performances are excellent, the soloists of varying Slavic quality, but sung in very short spurts, with the orchestra as the star of the recording. I don't even mind Capriccio's garish cover art, for it sets itself apart rather well from other mainstream Classical Music releases.



Update

I came across the included liner notes and translations booklet well after I made the post above. The jewel case comes with a cardboard slipcover and an oversized booklet, which I had set aside for one reason or another. Suffice to say, I piled a few items o'er top of them, making me assume they didn't exist. Instead of rewriting the entire post, I thought I would just add to it.

Strigoii is divided into three large parts. The first finds the main character reminiscing about how he came to know his now deceased wife. Under what circumstances she dies remains hidden to the narrative. What I noticed in this section is how closely the music follows the words, making for essential word-to-music knowledge I didn't immediately have upon my first listenings. This is also the section where the tenor has a large solo to himself, done well by Tiberius Simu. The solo, starting in sung tones, morphs into sprechstimme later on, another odd choice from the composer.

The second large portion focuses on the deal the main character makes with dark forces in order to regain his deceased bride to the living world. While there are many references to tempests and fires related to swirling magic, Enescu does not go the Romantic route. The programmatic musical detail is more generalized here, rather than strictly following every stanza as the outer sections do. The story, however, is at its most intriguing here, where the soprano sings a few brief moments as the resurrected bride. I was also rather interested in the ancient sage lost to time, who precipitates the forbidden nature magic. Narration besets this area of the cantata heavily as well.

The third large section deals with the cost of making a deal with dark magic, visualizing what resurrecting a lover does to normal life and the human psyche. As with many tales of this sort, there are rules to follow, although they are not explicitly stated earlier in the text. Once again, the music apes the words pretty closely again, particularly the manic horse riding and the sealing of the main character's fate.

The English translation is unfortunately set in poetic rhyme, although I think I can pretty much read through the filigree fanciness of the English lines. I noticed two leaps in the provided poetry which was not set by Enescu, although the booklet includes the whole poem.

So, did having the words help the listening experience? Assuredly yes, for each stanza of poetry is almost always commented upon by the orchestra. I certainly have a deeper enjoyment knowing the story as well, and Enescu seems to set the prevailing moods well enough. Much of the music still sounds like underscoring though, hardly making the score able to stand on its own. The narration is prevalent throughout, rarely allowing the orchestra any considerable time on its own, so the two are intertwined as partners.

The bass soloist is not my favorite as a singer, and even his role as speaking narrator seems to relish his low tessitura rather than his ability to express the story effectively, although he does fine work. The baritone is an odd feature as the ancient guardian of dark nature magic, another short solo section. While the singing from Bogdan Baciu is fine, Enescu's voice type choice doesn't lend itself to the terror of the moment, nor the eternal lifespan of the necromancer wakened from his endless slumber.

I don't think I am going to raise my rating of Strigoii, but having the translation in front of me definitely helped my understanding and appreciation of Enescu's music. The performances are excellent, although the solo vocal qualities remain variable.

 

Works
Strigoii (45.52)
Pastorale Fantaisie (10.03)

Soloists
Rodica Vica, soprano
Tiberius Simu, tenor
Bogdan Baciu, baritone
Alin Anca, bass

Performers
Berlin Radio Symphony Orchestra
Gabriel Bebeșelea, conductor

Label: Capriccio
Year: 2018
Total Timing: 55.55

  

I enjoy the dark gothic atmosphere of Strigoii, even if Enescu doesn't lean into the Romantic musical possibilities of the Gothic story.

Regardless, the Berlin Radio Symphony Orchestra is in excellent form here, responding to the direction of Gabriel Bebeșelea with glee.

Find more Enescu recordings HERE!