22 Jun 2009
Schwanengesang at Wigmore Hall
A performance of sublime authority from Goerne and Eschenbach
Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
A performance of sublime authority from Goerne and Eschenbach
After a searing Die Schöne Müllerin on Monday and a definitive Winterreise on Wednesday, Matthias Goerne and Christoph Eschenbach gave the Wigmore Hall audience yet another reason to feel almost unreasonably privileged on Saturday, with a Schwanengesang of an emotional intensity and technical prowess which it is hard to imagine being equalled.
This is a melancholy, tormented ‘cycle’ in the hands of these musicians, a far cry from the ‘charm’ which some see in the Rellstab settings, and the mood is set in the very first song, with a ‘Liebesbotschaft’ which speaks not of a prettily babbling brook carrying a message of love but of the same stream in which the Miller lad drowns and which is frozen over in ‘Auf dem Flusse.’ Indeed, the sense of a raging torrent beneath the surface pervades this interpretation, the message not one so much of tenderness as foreboding. That same sense of dread hovers over Goerne’s achingly poignant ‘Kriegers Ahnung,’ where the lines ‘Lag sie in meinem Arm’ and ‘Herzliebste — Gute Nacht!’ are delivered with touching sincerity.
‘Ständchen’ is always hard to hear anew, but Goerne and Eschenbach managed to make it sound fresh, the lines ‘In den Stillen Hain herneider, / Liebchen, komm’ zu mir!’ amazingly sung on one breath, the piano’s staccato notes underpinning the sense of disquiet. Even ‘Abschied,’ that grave of many a singer’s hopes of syllabic perfection (of course, Goerne got every one in place) was more of a farewell to life itself than just to a place and the people in it.
The Heine songs were tremendous — I have never heard so tormented an Atlas, or so heartbroken a rejected lover in ‘Ihr Bild,’ the legato line here sustained with quiet intensity and the sense of disbelief at ‘Dass ich dich verloren hab!’ utterly compelling. Similar technical perfection was heard in ‘Am Meer,’ the piano forceful rather than subdued, the voice melting from the solemn grandeur of the beginning to the bitterness of ‘Vergiftet’ at the end.
‘Der Doppelgänger’ was frightening: not only for the sheer fervour of the singing, but the elemental force which seemed to be behind the words, and the command with which they were sung. No one rises to that cruelly exposed high G as this singer does, and no one manages to make that howl of despair so absolutely eloquent, the ensuing ‘Du, Doppelgänger’ phrased with ringing authority. A magisterial performance, followed by one of those silences which speak louder than any applause. ‘Die Taubenpost’ was given as an encore, sung with tenderness and unforced candour, the crucial ‘Sie heisst — die Sehnsucht!’ not isolated but part of the same unaffectedly moving whole. I had thought that his performance with Brendel was as far as anyone could go with these songs, but I was wrong.
It’s always difficult to programme with this work, but here we had a brilliant solution in Schubert’s Piano Sonata D960. Eschenbach has been doing so much more conducting and accompanying in recent years that it’s easy to forget what a highly individual pianist he is — of course, his special quality is akin to Goerne’s in that his interpretations derive from the feeling that rhythm and not metre is the life-blood of music, and that the most sublime music of all is slow — very slow indeed, in the case of the sublime Andante here, taken more Molto adagio to my ears. Naturally I loved every audacious minute, but I can quite see that many would not. Schubert was almost certainly writing this sonata at the same time as he was working on the Schwanengesang settings, and it shares the same wonderful completeness and coherence whilst possessing something given perhaps only to ‘Die Taubenpost’ — a sense of serenity amidst sorrow, brought out wonderfully by Eschenbach’s playing.
|Sehnsucht||An mein Herz||Die schöne Müllerin|