Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Early Swedish opera - Stenhammer world premiere

The Feast at Solhaug : Henrik Ibsen's play Gildet paa Solhaug (1856) inspired Wilhelm Stenhammer's opera Gillet på Solhaug. The world premiere recording is now available via Sterling CD, in a 3 disc set which includes full libretto and background history.

La finta giardiniera at the Royal College of Music

For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.

Lust for Revenge: Barenboim and Herlitzius fire up Strauss’s Elektra in Berlin

As the German language describes so beautifully, a “Schrei aus tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra from the depths of her soul.

Semyon Bychkov heading to NYC and DC with Glanert and Mahler

Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.

Lost Stravinsky re-united with Rimsky-Korsakov, Gergiev, Mariinsky

Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.

Philippe Jaroussky at the Wigmore Hall: Baroque cantatas by Telemann and J.S.Bach

On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.

The new Queen of the City of Birmingham Symphony Orchestra

Here is one of the next new great conductors. That’s a bold statement, but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment “is the biggest news in the conducting world.” But Ms. Mirga Gražinytė-Tyla will be getting a lot of weight on her shoulders.

Falstaff at Manitoba Opera

Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.

Gothic Schubert : Wigmore Hall, London

Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.

Rusalka, AZ Opera

On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.

First new Ring Cycle in 40 Years, Leipzig

Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.

San Jose’s Beta-Carotene Rich Barber

You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.

Manon Lescaut at Covent Garden

If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.

Fierce in War, dazzling in Peace: Joyce DiDonato at the Concertgebouw

Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.

Walter Braunfels Orchestral Songs Vol 2

Honours yet again to Oehms Classics who understand the importance of excellence. A composer as good, and as individual, as Walter Braunfels deserves nothing less.

Simplicius Simplicissimus

I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.

Lucia di Lammermoor at Lyric Opera of Chicago

For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.

Akhnaten Offers L A Operagoers Both Ear and Eye Candy

Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.

Shakespeare in the Late Baroque - Bampton Classical Opera

Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.

Soldier Songs in San Diego

David Little composed his one-man opera, Soldier Songs, ten years ago and the International Festival of Arts & Ideas of New Haven, Connecticut, premiered it in 2011. At San Diego Opera, the fifty-five minute musical presentation and the “Talk Back” that followed it were part of the Shiley dētour Series which is held in the company’s smaller venue, the historic Balboa Theatre.

OPERA TODAY ARCHIVES »

Reviews

Robert Schumann: Liederkreis, op. 24; Dichterliebe.
26 Sep 2005

SCHUMANN: Liederkreis, op. 24; Dichterliebe, op. 48

In addition to some notable, recent recordings of selected Lieder by Robert Schumann (1810-56), two comprehensive editions of the composer’s works in this genre are underway, one by Hyperion, which is almost complete and another that is just starting on the Naxos label. Performed by Thomas E. Bauer, baritone and his wife, the pianist Uta Hielscher, the first volume is as promising as it is ambitious.

Robert Schumann: Liederkreis, op. 24; Dichterliebe, Op. 48.
Schumann Lieder 1 (series).

Thomas E. Bauer, baritone; Uta Hielscher, piano.

Naxos CD 8.557075 [CD]

 

The first release includes the cycles Liederkreis, op.24 and Dichterliebe, op. 48, as well as “Der arme Peter” from Schumann’s Romances and Ballades, op. 53 (no. 3), and the song “Belsatzar”, op. 57. Bauer has an engaging sound, and his command of the text is unquestionably solid. Working together, Bauer and Hielscher achieve a remarkably fine balance and convincing interpretation of these two major sets of Lieder. As familiar as the music may be, their approach conveys a freshness often found in live performances that is sometimes difficult to capture on a recording.

Bauer’s voice is natural for Lieder, and his range of expression is well within the scope of the literature selected for this recording. He is sensitive to the poetry, and brings out critical lines, as occurs with the telling treatment of “Schöne Wiege meiner Leiden,” the fifth of Schumann’s Liederkreis, op. 24, with the short utterances and pauses that are appropriate to the text. At the same time, he allows some lines to linger just enough to reinforce the meaning. His tone rings, at times, like a warm cello, and this adds to the ambiance of the performance.

Hielscher’s accompanying is at once discreet and authoritative. She sets a tone in “Warte, warter, wilder Schiffmann,” the next song in the Liederkreis, that allows the singer to open the piece with the necessary brilliance. Her playing reflects a sensitivity that is often extolled, but not always heard. It is welcome here, where the accompanist and the vocalist must unite to present the Lieder as a kind of chamber music. At times the piano must be prominent, but not for the extended passages as occurs with some of Brahms’s Lieder. At some points, the accompaniment requires a full sound that must not overpower the singer, and Hielscher is clearly sensitive to such moments in the score. The give-and-take of these performers is entirely appropriate to these songs, and is borne out in the later set, Schumann’s Dichterliebe, where the accompaniment has a more involved role in that cycle.

The opening song of the Dichterliebe is particularly effective with its tentative, somewhat hovering sense of rhythm that solidifies once the voice enters. Upon entering, Bauer conveys a musing, dreaming quality, which sets the tone for the cycle. This contrasts their more decisive approach to “Ich grolle nicht,” a turning point in the cycle, where the perspective of the narrator shifts, and this is clear in Bauer’s dramatic – and wholly musical – execution of the final strophe. Such definition is evident in the subsequent song and those that follow, and Hielscher confirms that in her approach to the accompaniment, which is prominent without being intrusive. “Das ist ein Flöten und Geigen” has a dance-like quality that suggests in its conclusion the kind of gesture Mahler would use in “Des Antonius Fischpredigt” and some other points in his Wunderhorn settings. (In fact, the couple has released a recording of Mahler’s Lieder, which merits attention for the effective performances it captures.)

“Hör’ ich das Liedchen klingen” retreats from this more extroverted style, allowing the ditty in the title to emerge from the lingering tempo they use to approach this song. From the pacing given to this and the remaining pieces in the cycle, it is clear that Bauer and Hielscher worked out their interpretation of this familiar music, and it is a convincing one. Those who want to hear a fine singer matched with an equally sensitive pianist will enjoy their performance of Schumann’s Dichterliebe. The title “Die alten bösen Lieder” [“The old, bad songs”] is hardly appropriate for this fresh and convincing performance of that song and the entire cycle. For those who wish to hear more from these performers the two additional pieces included on this recording, “Der arme Peter” and “Belsazar,” are worth hearing in Bauer’s interpretation. In these more sustained Lieder, Bauer offers a laudable presentation of the text with his clear diction and sensitivity to both the rhythms of the music and those of the poetry.

In these songs and the others on this CD, the couple demonstrates a masterful approach to Schumann’s Lieder, and they should offer some excellent interpretations in the remainder of his repertoire in subsequent volumes of the series. Already the second volume of the series is announced, and it includes selections from Liebesfruhling, op. 37, “Minnespiel”, op. 101, and Lieder aus Wilhelm Meister, Op. 98a. Given the quality of the first release, the next should be worth hearing, along with the rest of this exciting new edition of Schumann’s Lieder.

While it is not entirely essential when the focus should be on the fine performance, the liner notes are minimal, with the entire insert typeset on two pages. Since this is well-known repertoire by Schumann, it should not be a problem to find texts elsewhere, either by consulting editions of the music or other CDs. Naxos makes texts and translations available at the following URL: www.naxos.com/libretti/schumannlieder1.htm. This is a small concession that should be no means detract from the fine performance found on this recording.

James L. Zychowicz
Madison, Wisconsin

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):