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Franz Schmidt: Fredigundis

ORF Radio-Symphonieorchester Wien, Ernst Märzendorfer

Franz Schmidt: Fredigundis
The conductor and three of the cast may now be deceased but what, almost 45 years on, remains the only complete account in modern times at least give this flawed opera a fighting chance.

Franz Schmidt: Fredigundis

ORF Radio-Symphonieorchester Wien, Ernst Märzendorfer

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The conductor and three of the cast may now be deceased but what, almost 45 years on, remains the only complete account in modern times at least give this flawed opera a fighting chance.

About

In 1914, Franz Schmidt staged his opera Notre Dame at the Vienna State Opera to great acclaim. Immediately afterwards, he was looking for material for a new opera when he came across the novel Fredigundis by Felix Dahn, which is loosely based on historical events from the 6th century. Schmidt worked on the project from 1916 to 1921, with the premiere taking place in Berlin in December 1922. Schmidt’s music for Fredigundis marks the end of a development that runs through the so-called ‘Classic-Romantic’ period. The work is characterised by extensive chromaticism and a boundary-pushing expansion of the major-minor tonal system paired with dense counterpoint and perfect compositional artistry in the vocal parts. The dramatic mezzo-soprano Dunja Vejzovic, who became famous for her Wagner roles in Bayreuth and Salzburg, performed on all the major opera and concert stages of the world. The excellent cast of singers in this performance is supported by Austrian conductor Ernst Märzendorfer, who also mastered several instruments and composed piano concertos, incidental music and a ballet. On this recording, he conducts the ORF Vienna Radio Symphony Orchestra, which has established itself as an opera orchestra through a long and successful collaboration with the MusikTheater an der Wien.

Contents and tracklist

Fredigundis Act II: Mord, schrei'n sie! Wehe!
Track length4:32

Awards and reviews

October 2024

The conductor and three of the cast may now be deceased but what, almost 45 years on, remains the only complete account in modern times at least give this flawed opera a fighting chance.
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