17 Jun 2009
Die schöne Müllerin at Wigmore Hall
Matthias Goerne and Christoph Eschenbach unite in a Schöne Müllerin of searing intensity.
This may be the twelfth revival of Jonathan Miller’s 1987 production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.
The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.
English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).
Sounds swirl with an urgent emotionality and meandering virtuosity on Jonas Kaufmann’s new Puccini album—the “real one”, according to Kaufmann, whose works were also released earlier this year on Decca records, allegedly without his approval.
LA Opera got its season off to an auspicious beginning with starry revivals of Gianni Schicchi and Pagliacci.
On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.
On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.
The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.
Marion Cotillard and Marc Soustrot bring the drama to the sweeping score of Arthur Honegger’s Jeanne d’Arc au bûcher, an adaptation of the Trial of Joan of Arc
Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.
Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius he lamented and revered in equal measure, and against whom he schemed and plotted at the Emperor Joseph II’s Viennese court.
The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.
Stephen Paulus provided the musical world, and particularly the choral world, with music both provocative and pleasing through a combination of lyricism and a modern-Romantic tonal palette.
Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.
One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal family’s fateful dependency on and submission to the deathly power of the sea.
Is there anything that countertenor Iestyn Davies cannot do with his voice?
BBC Proms Youth Choir shines in a performance notable for its magical transparency
The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.
Disappointing staging mars Alice Coote’s vibrant if wayward musical performance
Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.
Matthias Goerne and Christoph Eschenbach unite in a Schöne Müllerin of searing intensity.
I first reviewed Goerne’s interpretation of Die schöne Müllerin in 2000, a revelatory experience in that his was the first version of this work which seemed to belong more to the world of Winterreise than to the gemütlichkeit with which Schubert’s first Müller song cycle is generally associated. In conversation a couple of years later on, he gave his view of the work — “All this naïveté — the boy walking through the trees finding love and all that, is not what the work is about; it is much, much more involved with what might be called ‘Sturm und Drang’” — and he regarded the songs after ‘Pause’ as ‘a descending spiral for which the only culmination is death by suicide.’ Judging by this evening’s performance, he has now decided that the descent begins much earlier than that.
Goerne has at times appeared to shop around for his accompanists, seemingly in a quest to find the one who most nearly comes close to his own unique concept of Lieder. Previously it was Eric Schneider who filled that role, but in Christoph Eschenbach he seems to have found the ‘Seelenfreund’ whose playing is, if anything, even more rapt, mesmerizingly slow and intense than his singing. If ever a singer and pianist were as one in their freedom from the constriction of the bar lines, then these two are.
This is the ultimate serious This is the ultimate serious Schöne Müllerin, barely leavened with a touch of lightness — all the humour is sardonic, all the beauty deceptive, all the tempi so slow as to seem at times in danger of standing still. Of course I loved every phrase, but I can quite see that for many, this is not “their” Schöne Müllerin — for that, you need to go to Quasthoff or just about any other Lieder singer around today. barely leavened with a touch of lightness — all the humour is sardonic, all the beauty deceptive, all the tempi so slow as to seem at times in danger of standing still. Of course I loved every phrase, but I can quite see that for many, this is not “their” Schöne Müllerin — for that, you need to go to Quasthoff or just about any other Lieder singer around today.
‘Das Wandern’ is not a jolly romp but prefigures what is to come — within the subtle variations of “vom Wasser” and “Wandern” we are made aware that this is not a frolicsome lad but one whose ultimate fate is to be in thrall to an illusion — the spirit of that other deceptive piece of “rural idyll” Tennyson’s ‘May Queen’ seems to hover over us throughout — “They say he’s dying all for love, but that can never be: / They say his heart is breaking, mother — what is that to me?” Goerne seems to have decided that the crucial turning point in the cycle comes much earlier than generally supposed — here, with the line “Ist das denn meine Strasse?” sung in tones of suppressed fear and anguish, we are virtually in suicide land with the second song.
The wonderful ‘Danksagung an den Bach’ is so often sung as pretty ditty, but here we had frank, straightforward questions about the speaker’s future, culminating in superficial yet ultimately doomed exuberance. I have never heard ‘Der Neugierige’ performed with such intensity — singer and pianist united as if in prayer, the little questioning phrases after “ob mich mein Herz belog” played almost in a reverie, “die ganze Welt mir ein” taken so slowly that it became a kind of litany. I need hardly add that the earth stood still as far as most of the audience were concerned, but I can quite see how some might find it a little, shall we say, over-wrought?
‘Eifersucht und Stolz’ like most of the more vigorous songs was taken at a cracking pace, the diction at “da steckt kein sittsam Kind den Kopf zum Fenster ‘naus” remarkably crisp despite the speed, and this was followed by a ‘Die liebe farbe’ only just short of psychotic — the amount of sheer hatred packed into the seemingly innocent line “mein Schatz hat’s Grün so gern” had to be heard to be believed.
The bleakness never really lets up, ‘Trockne Blumen’ touching new depths of the most profound sadness, no triumph at “der Mai ist kommen” instead only the sense that the coming of May is cruel in the same way as Eliot’s April is, because it brings the Spring and hope so welcome to all but the poet. The final “lullaby” was again taken at a “slow and stopping pace” and some of the words were a little mangled in the process — indeed, scrupulous though his concern for the language is, Goerne does have a tendency, alarming to those of nervous disposition, to be somewhat free with what goes where in a song. One could put this down to his fervent intensity getting the better of him, since it cannot surely be lack of familiarity with the text.
Goerne says that “People always think of Winterreise as being dark, gloomy, but the man does not die at the end, he goes on, unlike the youth” (in Die schöne Müllerin). Indeed, and the wanderer’s “Nun weiter denn, nur weiter” of the later work seems positively rosy-cheeked cheeriness compared to this miller lad’s desire to weep the green grass “ganz totenbleich.” One anticipates Wednesday’s Winterreise and Saturday’s Schwanengesang with eagerness tempered with apprehension — this first installment of Goerne and Eschenbach’s interpretation of these works (recorded on Harmonia Mundi, and soon to be followed by further discs) promises evenings of an intensity as troubling as it is breathtaking.
|Sehnsucht||An mein Herz||Die schöne Müllerin|