We take a look at some of the greatest composers who have scored for the silver screen.

  The son of a music critic, Erich Wolfgang Korngold was a child prodigy in the mould of Mozart and Mendelssohn. His 43-minute Sinfonietta was written at the age of 15. In its lush orchestration, Romantic melodies and richly chromatic harmonies, it sounds like a tone poem by Richard Strauss. (Both Strauss and Mahler admired the young Erich). Forced to leave Vienna in the early 1930s, Korngold made a fresh start in the USA where he virtually invented the sound of Hollywood films. He was brought over by the Austrian director Max Reinhardt to adapt Mendelssohn’s music for a movie of A Midsummer Night’s Dream possibly on the basis of his earlier score for a theatrical production of Much Ado About Nothing. This is the first recording of the full incidental music. Korngold’s approach to Shakespeare is appropriately characterful, and the power he gets out of his chamber forces is extraordinary. He was truly a master of the orchestra. Storgårds and the Helsinki Philharmonic have given us several first-rate recordings of neglected music – including Korngold’s Symphony – and this disc is similarly successful. I don’t care for the pinched tenor of Mati Turi in Balthazar’s song (Sigh no more,…

Nicola Benedetti makes for a poised, but overqualified, screen siren.

This double CD is a treat for operetta fans. The Silent Serenade was designed to pave the way for Erich Korngold’s return to Germany after the war. Having given up writing for films in Hollywood and getting back to what he considered his main business, he began work on the piece in 1944. The story revolves around mysterious lovers, bomb conspiracies and mistaken identities; the usual plot devices so beloved of the genre. However, Korngold fell into that old trap which bedevils much of central European operetta – that of a poor libretto. A shame, because the music is witty, bright and melodious. It also failed, both in the US and Germany, because it had missed its time, as the excellent notes tell us. Had the work been staged in the 1930s it might have been a hit. On Broadway, the famous producer, Jacob J Shubert, wanted to make too many changes for the composer’s taste and by the time it was sorted, Rodgers and Hammerstein had revolutionised the form of musicals. Meanwhile, “Viennese” operettas had become passé. My advice: simply ignore the book and listen to the delightful score. The small orchestral ensemble, based around two pianos, is most…

The guest director of the ACO pays tribute to his beloved hometown in an all-Viennese program. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Cheryl Barker and Jose Carbo unveil the new opera season in style. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

If ever you needed a musical snapshot of Vienna between the wars, this is it.