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

The Merchant of Venice: WNO at Covent Garden

In Out of Africa, her account of her Kenyan life, Karen Blixen relates an anecdote, ‘Farah and The Merchant of Venice’. When Blixen told Farah Aden, her Somali butler, the story of Shakespeare’s play, he was disappointed and surprised by the denouement: surely, he argued, the Jew Shylock could have succeeded in his bond if he had used a red-hot knife? As an African, Farah expected a different narrative, demonstrating that our reception of art depends so much on our assumptions and preconceptions.

Leoncavallo's Zazà at Investec Opera Holland Park

The make-up is slapped on thickly in this new production of Leoncavallo’s Zazà by director Marie Lambert and designer Alyson Cummings at Investec Opera Holland Park.

McVicar’s Enchanting but Caliginous Rigoletto in Castle Olavinlinna at Savonlinna Opera Festival

David McVicar’s thrilling take on Verdi’s Rigoletto premiered as the first international production of this Summer’s Savonlinna Opera Festival. The scouts for the festival made the smart decision to let McVicar adapt his 2001 Covent Garden staging to the unique locale of Castle Olavinlinna.

Jette Parker Young Artists Summer Performance at Covent Garden

The end of the ROH’s summer season was marked as usual by the Jette Parker Young Artists Summer Performance but this year’s showcase was a little lacklustre at times.

A Falstaff Opera in Shakespeare’s Words: Sir John in Love

Only one Shakespeare play has resulted in three operas that get performed today (whether internationally or primarily in one language-region). Perhaps surprisingly, the play in question is a comedy that is sometimes considered a lesser work by the Bard: The Merry Wives of Windsor.

Sallinen’s Kullervo is Brutal and Spectacular Finnish Opera at Savonlinna Opera Festival

For the centenary of Finland’s Independence, the Savonlinna Opera Festival brought back Kari Heiskanen’s spectacular 1992 production of Aulis Salinen’s Kullervo. The excellent Finnish soloists and glorious choir unflinchingly offered this opera of vocal blood and guts. Conductor Hannu Lintu fired up the Savonlinna Opera Festival Orchestra in Sallinen’s thrilling music.

Kát’a Kabanová at Investec Opera Holland Park

If there was any doubt of the insignificance of mankind in the face of the forces of Nature, then Yannis Thavoris’ design for Olivia Fuchs production of Janáček’s Kát’a Kabanová - first seen at Investec Opera Holland Park in 2009 - would puncture it in a flash, figuratively and literally.

A bel canto feast at Cadogan Hall

The bel canto repertoire requires stylish singing, with beautiful tone and elegant phrasing. Strength must be allied with grace in order to coast the vocal peaks with unflawed legato; flexibility blended with accuracy ensures the most bravura passages are negotiated with apparent ease.

Don Pasquale: a cold-hearted comedy at Glyndebourne

Director Mariame Clément’s Don Pasquale, first seen during the 2011 tour and staged in the house in 2013, treads a fine line between realism and artifice.

Billy Budd Indomitable in Des Moines

It is hard to know where to begin to praise the peerless accomplishment that is Des Moines Metro Opera’s staggeringly powerful Billy Budd.

Tannhäuser at Munich

Romeo Castellucci’s aesthetic — if one may speak in the singular — is very different from almost anything else on show in the opera house at the moment. That, I have no doubt, is unquestionably a good thing. Castellucci is a serious artist and it is all too easy for any of us to become stuck in an artistic rut, congratulating ourselves not only on our understanding but also,  may God help us, our ‘taste’ — as if so trivial a notion had something to do with anything other than ourselves.

Des Moines Answers Turandot’s Riddles

With Turandot, Des Moines Metro Opera operated from the premise of prima la voce, and if the no-holds-barred singing and rhapsodic playing didn’t send shivers down your spine, well, you were at the wrong address.

Maria Visits Des Moines

With an atmospheric, crackling performance of Astor Piazzolla’s Maria de Buenos Aires, Des Moines Metro Opera once again set off creative sparks with its Second Stage concept.

Die schöne Müllerin: Davies and Drake provoke fresh thoughts at Middle Temple Hall

Schubert wrote Die schöne Müllerin (1824) for a tenor (or soprano) range - that of his own voice. Wilhelm Müller’s poems depict the youthful unsophistication of a country lad who, wandering with carefree unworldliness besides a burbling stream, comes upon a watermill, espies the miller’s fetching daughter and promptly falls in love - only to be disillusioned when she spurns him for a virile hunter. So, perhaps the tenor voice possesses the requisite combination of lightness and yearning to convey this trajectory from guileless innocence to disenchantment and dejection.

World Premiere of Aulis Sallinen’s Castle in the Water Savonlinna Opera Festival

For my first trip to Finland, I flew from Helsinki to the east, close to the border of Russia near St. Petersburg over many of Suomi’s thousand lakes, where the summer getaway Savonlinna lays. Right after the solstice during July and early August, the town’s opera festival offers high quality productions. In this enchanting locale in the midst of peaceful nature, the sky at dusk after the mesmerising sunset fades away is worth the trip alone!

Mozart and Stravinsky in Aix

Bathed in Mediterranean light, basking in enlightenment Aix found two famous classical works, Mozart’s Don Giovanni and Stravinsky’s The Rake’s Progress in its famous festival’s open air Théâtre de l’Archevêche. But were we enlightened?

Des Moines: Nothing ‘Little’ About Night Music

Des Moines Metro Opera’s richly detailed production of Sondheim’s A Little Night Music left an appreciative audience to waltz home on air, and has prompted this viewer to search for adequate superlatives.

Longborough Festival Opera: A World Class Tristan und Isolde in a Barn Shed

Of all the places, I did not expect a sublime Tristan und Isolde in a repurposed barn in the Cotswolds. Don’t be fooled by Longborough’s stage without lavish red curtains to open and close each act. Any opera house would envy the riveting chemistry between Peter Wedd and Lee Bisset in this intimate, 500 seat setting. Conductor Anthony Negus proved himself a master at Wagner’s emotional depth. Epic drama in minimalistic elegance: who needs a big budget when you have talent and drama this passionate?

The Royal Concertgebouw Orchestra throws a glossy Bernstein party

For almost thirty years, summer at the Concertgebouw has been synonymous with Robeco SummerNights. This popular series expands the classical concert formula with pop, film music, jazz and more, served straight up or mixed together. Composer Leonard Bernstein’s versatility makes his oeuvre, ranging from Broadway to opera, prime SummerNight fare.

Die Frau ohne Schatten at Munich

It was fascinating to see — and of course, to hear — Krzysztof Warlikowsi’s productions of Die Gezeichneten and Die Frau ohne Schatten on consecutive nights of this year’s Munich Opera Festival.

OPERA TODAY ARCHIVES »

Reviews

Gustav Mahler: Songs from Des Knaben Wunderhorn
30 Aug 2009

Gustav Mahler: Songs from Des Knaben Wunderhorn

Following from the fine collaboration between Stephan Genz and Roger Vignoles on an ambitious collection of various sets of Mahler’s Lieder (Hyperion CD 67392), which includes some of the composer’s early settings of poetry from the anthology Des Knaben Wunderhorn, the present recording contains thirteen later settings from that source.

Gustav Mahler: Songs from Des Knaben Wunderhorn

Stephan Genz, baritone, Roger Vignoles, piano.

Hyperion CD 67645 [CD]

$23.98  Click to buy

Some of the most familiar of Mahler’s Wunderhorn Lieder, these are also among the most challenging. From the opening piece, Mahler’s setting of Revelge, the dynamic interaction between the two performers is evident. This is a vibrant rendering of Mahler’s Des Knaben Wunderhorn in the versions for voice and piano, a setting which requires the idiomatic approach Vignoles uses for the accompaniment and the nuanced tone Genz uses to evoke a sense of chamber music. Lacking the sonorous orchestral accompaniment, the singer is more exposed, and this allows Genz to display his vocal finesse well.

If the opening selection in this recording, Revelge, can be stentorian in some performances of the orchestral version, it requires the full-bodied intensity Genz uses to evoke the military music evoked in this setting. Here Vignoles’ lively approach to the accompaniment support’s the musical structure well, especially in the use of crisp articulation to suggest the percussive aspect of Mahler’s musical gestures. In contrast to this more extroverted song, the interpretation of Rheinlegendchen is wonderfully subtle, and Genz’s phrasing of certain lines is memorable for the nuances he brings to a song which deserves such attention to detail.

Vignoles makes use of a similar subtlety in Wo die schönen Trompeten blasen, a setting which benefits from the restraint the accompanist evinces, so that the vocal line can accumulate intensity in its execution. Here Genz’s sustained pitches are quite affective, and his sometimes hesitate approach to various lines is something difficult to achieve well with the full orchestra on stage. In the close ensemble with Vignoles, details like these emerge easily and to the benefit of literature that needs to be heard in performances like these. The delicacy Genz uses in the lines “Bein meinem Herzallerlieble” and “O Lieb auf grüner Erden” is touching, as is the warm intensity he brings to the sequential passage at the phrase “Sie reicht ihm auch die Schneeweiße Hand.” At the end Vignoles aptly bring out the reference to the folksong “Bruder Martin,” a reference wholly Mahlerian and yet absent from some performances of the piece.

Such synergy occurs in the Erlkönig-like setting of the poem “Verspätung” as Das irdische Leben (the counterpart of Das himmlische Leben, which became the Song-Finale of Mahler’s Fourth Symphony) With its perpetuum mobile accompaniment, Mahler brings out the reversal at the end, where the persistent child succumbs to the hunger its mother will not sate. In this performance Vignoles allows the accompaniment to bring details to the song, and thus supports Genz well. A similar kind of accompanying figure is part of the structure of the following song Des Antonius von Padua Fischpredigt, and the gesture in this piece reinforces the text in reference to recalcitrant audience of unrepentant fish, the metaphor for humanity’s failure to heed even the sermons of saints. In this performance the tempos are slightly slower than some take, and this allows a welcome clarity to come to the fore in the accompaniment - the vocal line benefits from the clear enunciation of the text, so necessary to bring out the irony of the piece.

Vignoles and Genz approach Wer hat dies Liedlein erdacht? in a similar way, and in their execution effect some fine accelerandos that accentuate the text and culminate in an exemplarily clear and even rendering of the vocal line that brings the piece to its conclusion. The use of tempo modifications emerges nicely in Trost im Unglück in which Vignoles and Genz demonstrate a solid interplay necessary for the song. Tempo also affects the way in which Vignoles makes the dissonant tones of the accompaniment figures of Verlorene Müh’ serve as a kind of commentary on the text, which Genz, in turn, intones with appropriate earnestness. Genz’s vocality culminates in a persuasive reading of Urlicht. Removed from the context of Mahler’s Second Symphony, where it serves as a vocal prelude to final movement, *Urlicht *can be challenging. Yet this performance by Genz and Vignoles is a strong reading of the piece, which shows both performers well.

The sound quality of this Hyperion recording serves the performances well, especially in rendering the range of dynamics and articulations Vignoles achieves on the piano. The sometimes close recording sometimes catches a breath from Genz, but it also serves to bring out his fine diction and nicely sustained pitches. It is a solid contribution which deserves attention. As to the presentation itself, Vignoles notes are reminiscent of the informative ones he contributed to his set of the complete chansons of Gabriel Faure. It is good to see his reference to Goethe’s comments about Des Knaben Wunderhorn, an essay which connects the anthology to the generations before Mahler who enjoyed its contents. The texts of the songs are reproduced with translation in English, as found in the previous release of Mahler’s Lieder by these performers on this label.

James L. Zychowicz

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):