Hindemith: Tuttifäntchen - suite

“Sancta Susanna is one of three early stage worksHindemith composed in the wake of the FirstWorld War, its companions being Mörder, Hoffnungder Frauen and Das Nusch-Nuschi, based on aplay for Burmese marionettes and representedhere by its dances. He earned a living at the FrankfurtOpera during this period, so it's natural thathe nurtured operatic ambitions. Sancta Susannaenjoyed a certain notoriety in its day. Fritz Buschrefused to conduct the premiere on account of itsblasphemous plot. It tells briefly of a young nun,Susanna, inflamed by the legend she hears fromSister Clementia, of a girl coming naked to thealtar to embrace the life-size figure of Christ onthe Cross. For this blasphemy she's buried alive.Aroused and undeterred, Susanna strips off andrips the covering from Christ's torso. She's terrifiedwhen a huge spider falls on to her head fromthe crucifix and, horrified by her deed, begs thenuns to wall her up. A drastic cure for arachnophobiaor blasphemy! The opera is short, concentrated,highly imaginative and resourceful in itsuse of sonority; and its expressionist musical languageis so powerful that at the end of its barely 23minutes you feel you've heard a much longerpiece. It's superbly done here. No praise can betoo high for the singers and for the delicacy, eloquenceand power of the playing Tortelier drawsfrom his orchestra. The recorded sound is of demonstrationquality in its unforced naturalness.The gorgeous Straussian Drei Gesänge, Op 9, arevery vehement and passionate, and at times wildlyover the top, but their assured craft and confidentambition is breathtaking. Susan Bullock performsthem with thrilling panache. The dances fromNusch-Nuschi are just as expertly done.” Gramophone Classical Music Guide, 2010