27 Feb 2007
Matthias Goerne at the Wigmore Hall
This wasn’t an “easy” program for dilettantes.
Opera Philadelphia deserves congratulations on yet another coup. The company co-commissioned Cold Mountain, an opera by Jennifer Higdon based on Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War epic.
For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme - popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.
There are not many opera productions that you would cross oceans to see. Graham Vick’s Götterdämmerung in Sicily however compelled such a voyage.
Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.
Robert Ashley’s opera-novel Quicksand makes for a novel experience
One of the leading Russian composers of his generation, Alexander Raskatov’s reputation in the UK and western Europe derives from several, recent large-scale compositions, such as his reconstruction of Alfred Schnittke’s Ninth Symphony from a barely legible manuscript (the work was first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic under Dennis Russell Davies), and his 2010 opera A Dog’s Heart, based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney at English National Opera in 2010, following the opera’s premiere at Netherlands Opera earlier that year).
I’m not sure that St John’s Smith Square was the most appropriate venue for Opera Danube’s latest production: Jacques Offenbach’s satirical frolic, Orpheus in the Underworld.
This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .
During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.
Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.
The title role is a deciding factor in Madama Butterfly. Despite a last-minute conductor cancellation, last Saturday’s concert performance at the Concertgebouw was a resounding success, thanks to Lianna Haroutounian’s opulent, heart-stealing Cio-Cio-San.
With this performance of vocal and instrumental works composed by the 10-year-old Mozart and his contemporaries during 1766, Classical Opera entered the second year of their 27-year project, MOZART 250, which is designed to ‘contextualise the development and influences of [sic] the composer’s artistic personality’ and, more audaciously, to ‘follow the path that subsequently led to some of the greatest cornerstones of our civilisation’.
Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.
The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.
When, o when, will someone put Peter Sellars and his compendium of clichés out of our misery?
Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.
Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.
‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.
It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.
For its latest production of the current season Lyric Opera of Chicago is presenting Franz Lehár’s The Merry Widow (Die lustige Witwe) featuring Renée Fleming /Nicole Cabell as the widow Hanna Glawari and Thomas Hampson as Count Danilo Danilovich.
This wasn’t an “easy” program for dilettantes.
Audiences in the Wigmore Hall are formidably erudite and can appreciate a well-chosen programme of lesser known Schubert. Even if you didn’t know the repertoire, a mere glance at the texts made it clear that these were philosophic songs about cosmic anguish. Songs about Greek heroes pondering fate aren’t supposed to be cute and fluffy.
A friend who hears some 60 high level Lieder concerts a year, has heard all the greats in his lifetime. Yet even he said this was one of his most memorable experiences. Goerne turns 40 this year, and still hasn’t reached his prime but the depth and colour in his singing was astounding. “Schöne Welt, wo bist du ?”, he opens with passionate force, then almost immediately softens his voice to evoke the delicate “springtime of nature”, which lives on only in the “Feenland der Lieder”. The transit is seamless, and the myriad shadings of color in each phrase are achieved with effortless technique, so deeply assimilated that it comes as naturally as instinct. Several of these songs are rarities which Goerne only added to his repertoire for these two concerts, the second of which I attended, but you would never have guessed.
When Goerne sings, he intuitively inhabits the world of his songs. It’s as if he becomes a conduit for the music. Because we’re used to performers as stars with “persona”, it’s not so easy to adjust to performers for whom image is utterly secondary. It does make careful listening more important, because you can’t rely on non-musical clues like the performer’s “noble mien”. But what rewards careful listening repays ! Mayrhofer’s poems are comparatively straightforward but Goerne gives them the dignity Schubert heard in them. For example, “Der entsühnte Orest” resounds with rounded vowel sounds which Schubert reflects in his setting. The pattern isn’t obvious in a superficial reading of the poem, but Goerne curves the words to emphasise their roundness. Suddenly the “heimatliches Meer” becomes a vivid presence. Then when it starts to “softly murmur Triumph ! Triumph !” its role in the song is enhanced. The poem may dwell on worldly success, but in the final strophe we know that Orestes (or rather Mayerhofer, the poet who later drowned himself), will find peace in what the sea represents.
In “Meeres Stille”, Goerne evoked the endless depths of the water with exquisitely resonant deep tones, shaped so carefully that they seemed to pulsate. Holding and floating the notes like this vividly captured the image of the “deep silence” that “weighs on the water…..a glassy surface all round”. The pauses in this song are subtle, but important to the meaning. Goerne incorporates this “todesstille fürchterlich” by extending the line so it seems to hover in the memory while nothing is in fact being sung out loud. This song is famous and often performed, but never quite with the profoundity heard here.
Similar subtlety marked “Der Kreuzzug, where a monk watches knights in their splendour marching off to the Crusades. Goerne’s voice wraps sensually round words like “Seide” (silk), contrasting the image with the austerity of the monks cell. Then he sings the monk’s words with quiet dignity. “I am a pilgrim, just like you”. Then the intensity of the final verse wells up with dramatic intensity. “”Life’s journey through treacherous waves….is after all, a crusade too….”.
Through the recital I was struck by the way Goerne nuanced his singing, by varying depth and well as light and colour. As if he were painting in oils, he can create multiple shadings in a single stroke, blending and intensifying as needed. Oils are pliable, shaped by texture as well as colour : Goerne’s subtle adjustments from deep timbres to lyrical light add depth as well as colour. In comparison, so many other performances have come across like crayon drawings ! Masterpieces may not have the same immediate impact, but they reward deeper appreciation.
The pianist here was no less than Ingo Metzmacher, the conductor. A sympathetic pianist makes a huge difference, and Metzmacher’s contribution here was superlative. His playing was powerful and uncompromising. He was infinitely more inspiring than the milder Elisabeth Leonskaya who accompanied Goerne in a similarly difficult Schubert program in the Wigmore Hall at the beginning of the season. Sometimes a pianist needs to support and nurture : Metzmacher knows that this is a singer who can be challenged. And such results ! His firmness in “Philoktet” created a pulsing undercurrent, underpinning the voice. In “Das Heimweh”, he emphasised the “yodelling” in the piano part. It’s extremely important because it evokes the song of the milkmaid echoing across the mountains. Schubert knew no male voice could get the same effect, so he put it into the piano. Metzmacher’s interests lie very much in modern music, so it was particularly interesting to hear what he does with Schubert Lieder. He played the extended 11 note sequence ending “Abschied”, colouring each note distinctly, capturing the varying pauses. It beautifully confirmed the solemn, contemplative mood of the song, while still reflecting the prayer-like vocal line, to Goerne’s reverential “Lebt wohl, klingt klagevoll”.
This concert was a historic occasion, more so than the first night, because it ended with the presentation of the first ever Wigmore Hall Medal for exceptional service to song. This isn’t going to be a regular award, simply because such contributions are not routine, by any means. As John Gilhooly, Director of the Wigmore Hall said, it was being “dedicated with great affection” to Goerne who, in his 14 years of association with the venue has shown his belief in “all that the Wigmore Hall stands for”. Since the Wigmore Hall aims for the highest possible standards, and has done so for a hundred years, that is praise indeed. Excellence is never going to have populist appeal, but that’s not the point. It’s fundamentally more important to create goals to aim for in the first place.
Goerne beamed as he received the medal, but in his typical self-effacing way, chose to thank the audience by singing instead of making a speech. Never has “An die Musik” come over as sincerely and more heartfelt. I was quite overcome and didn’t realise until later that I was in tears.
© Anne Ozorio 2007