Fanfare 11
*****
STRAUSS Don Juan.1 Ein Heldenleben2 • Hans Graf, cond; Singapore SO • OUR 8.226934 (63:35) Live: 17/28 and 29/2022, 27/27 and 28/2023. Reviewed from a WAV download: 44.1 kHz/16-bit
In a field as crowded as this, why issue another Heldenleben? Like its disc bedfellow here, it is an orchestral showpiece par excellence: and as a result, its discography is huge. But there are two other strands to this: the respected conductor Hans Graf, and the Singapore Symphony Orchestra.
Interest in orchestras of the East has never been keener, thanks in part to Naxos’ work with the Hong Kong Philharmonic. Good things are happening too in Singapore; that city’s symphony orchestra shows itself as a top-flight ensemble here.
The infamous opening to Don Juan is expertly navigated by the Singapore strings. There is some glare to the upper registers, but nothing distracting. What is really impressive is Graf’s x-ray hearing and the orchestra’s realization of his concept: the detail is stunning. Moods change with remarkable immediacy; and Strauss’s scoring is honored not just for its brilliance but also, on occasion, for its modernism. Graf’s experience shows everywhere: his ability to mold lines without losing direction is completely in Strauss’ orbit and yet never degenerates into Karajan-like indulgence. The oboist here is absolutely exceptional, the sound warm, the control of instrument complete; the horn section is hardly less fine, slurs preternaturally clean en masse. Here, in the slower sections, Graf seems to make corollary with the final stretches of Heldenleben. Within the piece itself, Graf paces the action brilliantly: the first appearance of the horns’ swashbuckling theme is held back, other brass later hinting at the extravagance to come. The horn theme makes its point later: and how the horns rejoice in the final upward shift, welcoming in the radiant harmonies. This is Strauss conducting of the highest intelligence, and the orchestra evidently loves Graf to deliver his level of detail continuously.
Chief conductor of the Singapore Symphony since 2020, Graf has clearly established a notable rapport here (the orchestra was only founded in 1979). The Heldenleben is equally immersive, if more sinewy. Right from the off, there is a leanness about the lines. In many ways, this is a no-nonsense Heldenleben: no cathartic slowings for arrival points, instead a real awareness of Strauss’ layering and counterpoint. When the Hero’s adversaries arrive, they are as nitpicking as anywhere, the woodwind staccato spiky; but there are accents here that otherwise go unnoticed, deriving from the nitpickers’ theme’s anacrusic uptick. Fascinating: no matter how many Heldenlebens you have heard, you will find new illumination somewhere in this performance.
Whereas Markus Tomasi had done a fine job as concertmaster, and therefore solo violinist, in Don Juan, it is David Coucheron (entitled “Co-Principal Guest Concertmaster”) who takes on the role of the “Hero’s Companion” (Strauss’ wife, of course). Coucheron is hugely charismatic, shading phrases ever so carefully, each bowing just right. It is one of the finest assumptions of this part I have heard; and how Graf encourages the brass to glower underneath. Patience is needed to build this section effectively, and Graf has that in spades.
The lead-in to the Battle Scene is almost as impressive as the scene itself; on record, Haitink/Concertgbouw remains a favorite, but memories of a 1980s performance with the Hallé and Skrow¬czewski still linger even now for this passage. Graf joins this mini-pantheon, delivering more detail than either of his predecessors. Graf paints Strauss’s self-quotations assiduously while underlining the score’s emotional proximity to Don Juan. The heartbeat pulsing against the cor angalis solo as the hero retires from the world is powerful indeed, and more present than in most performances; it works, and beautifully. Upper strings have a nice sheen to their contributions, too, allowing the sense of a sunset glow to proliferate. Nightmarish visions (of critics!) take on a hallucinogenic force. Solo violin/horn dialogue is perfectly judged (arguably the solo violin is a touch too closely miked, something that is only noticeable in the violin’s lower register).
This is a fine, fine disc. And certainly, it is shortlisted for the next Want List. Hans Graf’s conception is flawless, and he has nurtured his Singaporeans to the highest level. The performances were recorded at Esplanade Concert Hall, Singapore in July 2022 (Don Juan) and July 2023 (Ein Heldenleben). Colin Clarke


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