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

Written on Skin: the Melos Sinfonia take George Benjamin's opera to St Petersburg

As I approach St Cyprian’s Church in Marylebone, musical sounds which are at once strange and sensuous surf the air. Inside I find seventy or so instrumentalists and singers nestled somewhat crowdedly between the pillars of the nave, rehearsing George Benjamin’s much praised 2012 opera, Written on Skin.

Classical Opera/The Mozartists celebrate 20 years of music-making

Classical Opera celebrated 20 years of music-making and story-telling with a characteristically ambitious and eclectic sequence of musical works at the Barbican Hall. Themes of creation and renewal were to the fore, and after a first half comprising a variety of vocal works and short poems, ‘Classical Opera’ were succeeded by their complementary alter ego, ‘The Mozartists’, in the second part of the concert for a rousing performance of Beethoven’s Choral Symphony - a work described by Page as ‘in many ways the most iconic work in the repertoire’.

Bampton Classical Opera Young Singers’ Competition 2017

Bampton Classical Opera’s third Young Singers’ Competition takes place this autumn, culminating in a public final at Holywell Music Room, Oxford on November 19. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.

Peter Kellner announced as winner of 2018 Wigmore Hall/Independent Opera Voice Fellowship

Independent Opera (IO) was very present at the Wigmore Hall last week. On Thursday 5 October, IO announced 26 year old Slovakian bass Peter Kellner as the winner of the 2018 Wigmore Hall/IO Voice Fellowship, a two-year award of £10,000 plus professional mentoring from IO and the Wigmore Hall. A graduate of the Konzervatórium Košice Timonova and the Mozarteum University Salzburg, Peter is currently a member of Oper Graz in Austria where later this season he will sing the title role of Mozart’s Le nozze di Figaro and Colline in Puccini’s La bohème.

Back to Baroque and to the battle lines with English Touring Opera

Romeo and Juliet, Rinaldo and Armida, Ramadès and Aida: love thwarted by warring countries and families is a perennial trope of literature, myth and history. Indeed, ‘Love and war are all one,’ declared Miguel de Cervantes in Don Quixote, a sentiment which seems to be particularly exemplified by the world of baroque opera with its penchant for plundering Classical Greek and Roman myths for their extreme passions and conflicts. English Touring Opera’s 2017 autumn tour takes us back to the Baroque and back to the battle-lines.

Gluck’s Orphée et Eurydice at Lyric Opera of Chicago

Christoph Willibald von Gluck’s Orphée et Eurydice opened the 2017–18 season at Lyric Opera of Chicago.

Michelle DeYoung, Mahler Symphony no 3 London

The Third Coming ! Esa-Pekka Salonen conducted Mahler Symphony no 3 with the Philharmonia at the Royal Festival Hall with Michelle DeYoung, the Philharmonia Voices and the Tiffin Boys’ Choir. It was live streamed worldwide, an indication of just how important this concert was, for it marks the Philharmonia's 34-year relationship with Salonen.

King Arthur at the Barbican: a semi-opera for the 'Brexit Age'

Purcell’s and Dryden’s King Arthur: or the British Worthy presents ‘problems’ for directors. It began life as a propaganda piece, Albion and Albanius, in 1683, during the reign of Charles II, but did not appear on stage as King Arthur until 1691 when William of Orange had ascended to the British Throne to rule as William III alongside his wife Mary and the political climate had changed significantly.

Elder conducts Lohengrin

There have been dozens of capable, and more than capable, recordings of Lohengrin. Among the most-often praised are the Sawallisch/Bayreuth (1962), Kempe (1963), Solti (1985), and Abbado (1991). Recording a major Wagner opera involves heavy costs that a record company may be unable to recoup.

Anne Schwanewilms sings Schreker, Schubert, Liszt and Korngold

On a day when events in Las Vegas cast a shadow over much of the news this was not the most comfortable recital to sit through for many reasons. The chosen repertoire did, at times, feel unduly heavy - and very Germanic - but it was also unevenly sung.

The Life to Come: a new opera by Louis Mander and Stephen Fry

It began ‘with a purely obscene fancy of a Missionary in difficulties’. So E.M. Forster wrote to Siegfried Sassoon in August 1923, of his short story ‘The Life to Come’ - the title story of a collection that was not published until 1972, two years after Forster’s death.

‘Never was such advertisement for a film!’: Thomas Kemp and the OAE present a film of Strauss's Der Rosenkavalier at the Oxford Lieder Festival

Richard Strauss’s Der Rosenkavalier was premiered at the Dresden Semperoper on 26th January 1911. Almost fifteen years to the day, on 10th January 1926, the theatre hosted another Rosenkavalier ‘premiere’, with the screening of a silent film version of the opera, directed by Robert Wiene - best known for his expressionistic masterpiece The Cabinet of Dr Caligari. The two-act scenario had been devised by Hugo von Hoffmansthal and the screening was accompanied by a symphony orchestra which Strauss himself conducted.

Premiere Recording: Mayr’s Telemaco nell’isola di Calipso (1797)

No sooner had I drafted my review of Simon Mayr’s Medea in Corinto,

Aida opens the season at ENO

Director Phelim McDermott’s new Aida at ENO seems to have been conceived more in terms of what it will look like rather than what the opera is or might be ‘about’. And, it certainly does look good. Designer Tom Pye - with whom McDermott worked for ENO’s Akhnaten last year (alongside his other Improbable company colleague, costume designer Kevin Pollard) - has again conjured striking tableaux and eye-catching motifs, and a colour scheme which balances sumptuous richness with shadow and mystery.

La Traviata in San Francisco

A beautifully sung Traviata in British stage director John Copley’s 1987 production, begging the question is this grand old (30 years) production the SFO mise en scène for all times.

The Judas Passion: Sally Beamish and David Harsent offer new perspectives

Was Judas a man ‘both vile and justifiably despised: an agent of the Devil, or a man who God-given task was to set in train an event that would be the salvation of Humankind’? This is the question at the heart of Sally Beamish’s The Judas Passion, commissioned jointly by the Orchestra of the Age of Enlightenment and the Philharmonia Baroque of San Francisco.

Choral at Cadogan: The Tallis Scholars open a new season

As The Tallis Scholars processed onto the Cadogan Hall platform, for the opening concert of this season’s Choral at Cadogan series, there were some unfamiliar faces among its ten members - or faces familiar but more usually seen in other contexts.

Stars of Lyric Opera 2017, Millennium Park, Chicago

As a prelude to the 2017-18 season Lyric Opera of Chicago presented its annual concert, Stars of Lyric Opera at Millennium Park, during the last weekend. A number of those who performed in this event will be featured in roles during the coming season.

A Verlaine Songbook

Back in the LP days, if a singer wanted to show some sophistication, s/he sometimes put out an album of songs by famous composers set to the poems of one poet: for example, Phyllis Curtin’s much-admired 1964 disc of Debussy and Fauré songs to poems by Verlaine, with pianist Ryan Edwards (available now as a CD from VAI).

Die Zauberflöte at the ROH: radiant and eternal

Watching David McVicar’s 2003 production of Die Zauberflöte at the Royal Opera House - its sixth revival - for the third time, I was struck by how discerningly John MacFarlane’s sumptuous designs, further enhanced by Paule Constable’s superbly evocative lighting, communicate the dense and rich symbolism of Mozart’s Singspiel.

OPERA TODAY ARCHIVES »

Reviews

Matthias Goerne [Photo by Marco Borggreve for harmonia mundi]
19 Jun 2009

Goerne and Eschenbach : Winterreise

When Matthias Goerne was six, he heard Winterreise and was captivated.

Franz Schubert: Winterreise

Matthias Goerne, baritone, and Christoph Eschenbach, piano. 17 June, 2009, Wigmore Hall, London.

Above: Matthias Goerne [Photo by Marco Borggreve for harmonia mundi]

 

Obviously, he was too young to understand all the complex emotions in the piece but what he recognized was that they mattered. Winterreise is so powerful that even a child, albeit a talented one, could be inspired to commit it to memory.

There have been hundreds of Winterreises at the Wigmore Hall over the years. This is an audience that knows the work bar by bar and isn’t easily impressed, so when most of the house stood up in applause it was serious praise indeed. I first heard Goerne sing Winterreise some 15 years ago, near the start of his adult career (he was a child prodigy in East Germany). He was only 26, yet Irwin Gage was playing, and Alfred Brendel was listening in the stalls, rapt with attention. Goerne and Brendel became a legendary partnership, creating some of the finest Schubert performances ever produced. Their recording of Winterreise is one of the must-hear classics.

Christoph Eschenbach is a superlative Schubert performer too, so this new series of Schubert cycles at the Wigmore Hall is a significant event. Goerne and Eschenbach have already recorded Die schöne Mullerin as part of the new Harmonia Mundi Schubert Edition. Goerne’s earlier recording of that cycle is exceptional. Quite frankly, you can’t “know” that cycle without having heard that recording, because it puts paid to the myth that the cycle is sweet and innocent. Darker undercurrents almost always flow through the Romantic.

With Eschenbach, Goerne’s refining his approach to Winterreise yet again, this time even more cognizant of the structural underpinnings beneath the text. Each song marks a different stage in the journey, and those stages are in themselves significant, to be savoured for what they portend. The journey starts in a huff, the protagonist impulsively dashing out of town, the wind images in ‘Die Wetterfahne’ expressing turbulent confusion. Gradually the woman who caused the problem fades into a more generalised image on which the man can hang his feelings. ‘Der Lindenbaum’ is a temporary halt, a short moment of calm before “Die kalten Winde bliesen..” Then the true impact of the words “ich wendete mich nicht” sinks in.

This is a psychological journey, away from the town and its bourgeois values. The protagonist is out in the wilderness, in uncharted territory, where only animal spoor marks a path. Thus Goerne and Eschenbach employ a deliberate, watchful pace: paying close attention to each passage, every detail counts. Eschenbach even brought out the faint pre echo of the posthorn that appears as early as ‘Der Lindenbaum’. Similarly, the village dogs appear, in the rhythms that start ‘Im Dorfe’.

Landscape is important in Winterreise: it is a mirror of the protagonist’s soul. Schubert builds images of nature into the piano part not merely to illustrate text, but to act as an alter ego, almost a third party commentary beyond the protagonist’s highly subjective anguish. Pathetic fallacy operates, of course, for the protagonist hears his troubles reflected in the storm and swollen river, and sees frost patterns as flowers. But there’s infinitely more to the idea of Nature in the Romantic imagination. It stands as a symbol of something greater than mankind, something that endures beyond the personal and immediate.

This has implications for interpretation. Some performances depend on exaggeratedly emotional singing, on the assumption that the protagonist must be mad, since he gives up civilization to follow a crazy old beggar. Thus follows the idea that the journey can only end in death. But that trivializes the whole logic behind the cycle. If the protagonist is mad, why are we so drawn into this psychodrama? Wilhelm Muller – and Schubert – wanted us to experience the journey through the man’s feelings, to sympathize with why someone should choose a wilder path in life. Perhaps in more psychologically repressed times the idea of madness and death prevailed but for the Romantics angst was a code for what we now call the subconscious. The Romantic interest in emotional extremes was a reaction to the tidy elegance of classicism. Schubert’s contemporaries were troubled by the world Winterreise revealed, and rightly so.

The protagonist is driven to his limits but never loses sight of the world around him, even though he interprets it in terms of himself, for example when he thinks the crow is a companion. In that sense he’s not a depressive, turned entirely away from reality. Some point to ‘Der Nebensoonen’ as evidence that the man must be nuts if he sees three suns in the sky. But it’s a physical phenomenon that in extreme cold, the sun appears distorted in this way. For a century, we’ve become so used to electricity and urban living that we can’t imagine such things as reality. Goerne sings with quiet, understated dignity, as if he’s witnessing a miracle in nature. True, the protagonist still sees the eyes of his beloved wrought as huge cosmic images in the sky, but perhaps there’s something more.

The cycle ends with the strange hurdy-gurdy of ‘Der Leiermann’. The Leier isn’t a lyre, but a primitive instrument, turned rather than played, making a mechanical circular sound. The old man is “Baarfuss auf dem Eise”, barefoot on the ice, exposed to the elements, without a shred of bourgeois respectabilty. And yet he doggedly makes his way from village to village, despite being hounded by dogs and men. “Wunderlicher Alter!” sings the protagonist, what kind of phenomenom is this? Orpheus in rags?

Goerne sings the final sentence with overwhelming grace and wonder. “Willst zu meinen Liedern deine Lieier drehn?” Will the man follow the old beggar, who perhaps once set out on a similar journey? Perhaps he’s like the crow, whose companionship is coincidental not real. But the old man is human and plays a vaguely musical instrument. Perhaps he’s a symbol of the power of music, which like Nature endures whatever may happen to an individual. Throughout the cycle, the rhythms of the hurdy gurdy and lurching footsteps lurk in the shifts of pace and intensity. The Leiermann haunts the whole piece, though it takes performance of this very high standard to bring them out.

Anne Ozorio

Matthias Goerne Schubert Edition
Goerne_Sehnsucht.gif Goerne_AnMeinHerz.gif Goerne_Mullerin.gif
Sehnsucht An mein Herz Die schöne Müllerin

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):