Search - Ligeti, Weller, Howarth :: Ligeti: Le Grand Macabre

One of the great masterpieces of the century.

Karl Henzy | 01/08/1999

(5 out of 5 stars)

"For once, both the Grammaphone and Amazon reviewers are right on the mark. Ligeti's magnum opus is one of the top three or four masterpieces of the century. Yes, it's on a level with Rite of Spring, Wozzeck, you name it. And amazingly, the work is absolutely full of humor. It's amazing that this is so because Ligeti went through so much as an artist in an iron curtain country before the Berlin wall came down. But look at the way he handles, for instance, the singing of the chief of the secret police. He gives the role, not to a man, but to a high soprano in drag, who comes in whispering, clucking, clicking, singing incredibly high nonsense syllables, in what is ultimately a virtuoso role (some say the most difficult since Mozart's rage aria for the Queen of the Night in The Magic Flute). Ligeti must have known some real secret police, and I'm betting they were none too pleasant, but here in his opera the character becomes the vehicle for transcending humor, dazzling virtuosity, and pure pleasure for the audience. Now that's creativity for you."

Brilliant libretto, not so brilliant music

Albrecht Moritz | Salem, MA United States | 06/02/2002

(3 out of 5 stars)

"Ligeti has written some great music, such as the piano concerto, the violin concerto, the 2nd string quartet, the Requiem. "Le Grand Macabre" has a brilliant and hilarious libretto. There is a joke about what the distinction is between a German and an Austrian (extremely stereotypical of course like all jokes about nationalities, but with an oh so slight grain of truth): The German says with heroism: the situation is serious but not hopeless.
The Austrian says with a smile: the situation is hopeless but not serious. The libretto to the opera hits that mentality (actually more Viennese than Austrian in general) perfectly in sphere. That the recording is from a performance of the opera in Vienna, sung in German with Viennese accent, is very fitting. A brilliant libretto alone however does not necessarily make for a brilliant opera. The music is composed with accomplishment and great craft, but personally I don't find it particularly inspired and imaginative, with a few shining exceptions. It does not have too many musically surprising moments - once you know the musical languages of the 20th century well. Musical effects mostly (not always) sound rather stereotypical and therefore not witty - a situation in strong contrast to the wit of the libretto.Definitive opera of the last third of the twentieth century? One of the great masterpieces of the 20th century? Well, I may see it differently than [others], but personally I take the Stockhausen operas, Birtwistle's "Gawain" amd Maxwell Davies' opera "The lighthouse" over "Le Grand Macabre" anytime."

Amazing

M. Friedman | New York Area | 02/25/2000

(5 out of 5 stars)

"This is an extraordinary piece of music. If you have a taste for 20th century music -- and, admittedly, not everyone does -- then you will probably agree that this is the definitive opera of the last thord of that century.It is difficult, irreverent, salty, bizarre and, at times, insanely funny. The music ranges from modal harmonies reminiscent of Kodaly to micropolyphony and tone clusters.This is not a happy, relaxing opera. It is taxing and challenging. You will feel as if you've run a marathon by the end. But it is incredibly rewarding."