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

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.

Fantasy in Philadelphia: The Wake World

Composer and librettist David Hertzberg’s magical mystery tour that is The Wake World opened to a cheering sold out audience that was clearly enraptured with its magnificent artistic achievement.

A Mysterious Lucia at Forest Lawn

On September 10, 2017, Pacific Opera Project (POP) presented Gaetano Donizetti’s Lucia di Lammermoor in a beautiful outdoor setting at Forest Lawn. POP audiences enjoy casual seating with wine, water, and finger foods at each table. General and Artistic Director Josh Shaw greeted patrons in a “blood stained” white wedding suit. Since Lucia is a Scottish opera, it opened with an elegant bagpipe solo calling members of the audience to their seats.

This is Rattle: Blazing Berlioz at the Barbican Hall

Blazing Berlioz' The Damnation of Faust at the Barbican with Sir Simon Rattle, Bryan Hymel, Christopher Purves, Karen Cargill, Gabor Bretz, The London Symphony Orchestra and The London Symphony Chorus directed by Simon Halsey, Rattle's chorus master of choice for nearly 35 years. Towards the end, the Tiffin Boys' Choir, the Tiffin Girls' Choir and Tiffin Children's Choir (choirmaster James Day) filed into the darkened auditorium to sing The Apotheosis of Marguerite, their voices pure and angelic, their faces shining. An astonishingly theatrical touch, but absolutely right.

Moved Takes on Philadelphia Headlines

There‘s a powerful new force in the opera world and its name is O17.

Philly Flute’s Fast and Furious Frills

If you never thought opera could make your eyes cross with visual sensory over load, you never saw Opera Philadelphia’s razzle-dazzle The Magic Flute.

At War With Philadelphia

Enterprising Opera Philadelphia has included a couple of intriguing site-specific events in their O17 Festival line-up.

The Mozartists at the Wigmore Hall

Three years into their MOZART 250 project, Classical Opera have launched a new venture, The Mozartists, which is designed to allow the company to broaden its exploration of the concert and symphonic works of Mozart and his contemporaries.

Philadelphia: Putting On Great Opera Can Be Murder

Composer Kevin Puts and librettist Mark Campbell have gifted Opera Philadelphia (and by extension, the world) with a crackling and melodious new stage piece, Elizabeth Cree.

Mansfield Park at The Grange

In her 200th anniversary year, in the county of her birth and in which she spent much of her life, and two days after she became the first female writer to feature on a banknote - the new polymer £10 note - Jane Austen’s Mansfield Park made a timely appearance, in operatic form, at The Grange in Hampshire.

Elektra in San Francisco

Among the myriad of artistic innovation during the Kurt Herbert Adler era at San Francisco Opera was the expansion of the War Memorial Opera House pit. Thus there could be 100 players in the pit for this current edition of Strauss’ beloved opera, Elektra!

Mark Padmore on festivals, lieder and musical conversations

I have to confess, somewhat sheepishly, at the start of my conversation with Mark Padmore, that I had not previously been aware of the annual music festival held in the small Cotswolds town of Tetbury, which was founded in 2002 and to which Padmore will return later this month to perform a recital of lieder by Schubert and Schumann with pianist Till Fellner.

Turandot in San Francisco

Mega famous L.A. artist David Hockney is no stranger at San Francisco Opera. Of his six designs for opera only the Met’s Parade and Covent Garden’s Die Frau ohne Schatten have not found their way onto the War Memorial stage.

The School of Jealousy: Bampton Classical Opera bring Salieri to London

In addition to fond memories of previous beguiling productions, I had two specific reasons for eagerly anticipating this annual visit by Bampton Classical Opera to St John’s Smith Square. First, it offered the chance to enjoy again the tunefulness and wit of Salieri’s dramma giocoso, La scuola de’ gelosi (The School of Jealousy), which I’d seen the company perform so stylishly at Bampton in July.

Richard Jones' new La bohème opens ROH season

There was a decided nip in the air as I made my way to the opening night of the Royal Opera House’s 2017/18 season, eagerly anticipating the House’s first new production of La bohème for over forty years. But, inside the theatre in took just a few moments of magic for director Richard Jones and his designer, Stewart Laing, to convince me that I had left autumnal London far behind.

Giovanni Simon Mayr: Medea in Corinto

The Bavarian-born Johann Simon Mayr (1763–1845) trained and made his career in Italy and thus ended up calling himself Giovanni Simone Mayr, or simply G. S. Mayr. He is best known for having been composition teacher to Giuseppe Donizetti.

Robin Tritschler and Julius Drake open
Wigmore Hall's 2017/18 season

It must be a Director’s nightmare. After all the months of planning, co-ordinating and facilitating, you are approaching the opening night of a new concert season, at which one of the world’s leading baritones is due to perform, accompanied by a pianist who is one of the world’s leading chamber musicians. And, then, appendicitis strikes. You have 24 hours to find a replacement vocal soloist or else the expectant patrons will be disappointed.

OPERA TODAY ARCHIVES »

Reviews

Karl Amadeus Hartmann: Des Simplicius Simplicissimus Jugend
11 Apr 2010

Covert resistance to Hitler — Hartmann’s Simplicius Simplicissimus

An anti-facist, anti-war opera written in Germany while the Nazis were in power? K A Hartmann’s Des Simplicius Simplicissimus Jugend was a brave act of conscience, even though the opera wasn't publicly performed until 1948.

Karl Amadeus Hartmann: Des Simplicius Simplicissimus Jugend

Camilla Nylund (Simplicius); Christian Gerhaher (Landsknecht/Sprecher); Will Hartmann (Einsiedel/Gouverneur); Michael Volle (Bauer/Feldwebel/Hauptmann). Die Singphoniker. Münchner Rundfunkorchester. Ulf Schirmer, conducting.

BR-Klassik 403571900301 [2CDs]

$29.99  Click to buy

Simplicius Simplicissimus is loosely based on H J Chr Grimmelshausen’s 1669 allegory. This was set in the Thirty Years War, a defining trauma in German history, barely appreciated in the English-speaking world. “Anno Domini 1618 wohnten 12 millionen in Deutschland” goes Hartmann’s introduction. “Da kam der grosse Kreig”. Thirty years later, only 4 million remained. Hartmann uses an alt Deutsch idiom but it’s obvious what he really means.

There’s a new edition, recently recorded by the Münchner Rundfunkorchester conducted by Ulf Schirmer. The singing too is way above average, which in itself makes this a top recommendation : Michael Volle, Christian Gerhaher, Camilla Nylund and Will Hartmann. It’s live, too, recorded in a small theatre, which adds to the atmosphere. This performance is vividly dramatic. Even if you don’t understand a word of German, the impact is clear.

Like the 1669 original, Hartmann sets the opera in tableaux, each act divided into different Bild or Speil subsections, like a series of stylized woodcuts. This formality creates an otherworldly edge to the horrific tale within. A thundering, brooding overture sets the mood of overwhelming chaos. Hartmann’s orchestration is spartan: simple trumpets, drums, pipes, a modernist battaglia. From this the male voices develop, chanting in goose-step rhythms.

Simplicius appears. “Ein kleiner Bub bei den Schafen, kannte weder Gott noch Menschen, weder Himmel noch Hölle, weder Engel noch Teufel”. Notice the pattern of opposite images, which flows throughout the opera. The text is set in rhyming couplets, typical of German tradition, and the music moves in a similar grave two-step.

Simplicius is a “Holy Innocent”, so pure he knows nothing of heaven or hell. In Tarot the Fool signifies someone who goes forth into the world without fear, facing danger but protected by his purity. Siegfried without the selfishness. Hartmann sets the part for high soprano though the role is male: Nylund’s lucid, clear tones are perfect.

“Beware of the Wolf” warns the farmer (Michael Volle, with solemn bucolic gravity). Wolf of course was Hitler’s nickname. Simplicius doesn’t know what a wolf is. so when the Landknecht (Gerhaher) appears he thinks the Horseman is the vierbeiniger Schelm und Dieb the farmer warned about. “Weiss nit, Herr Wolf” cries Simplicius but the Landknecht attacks the farm and kills the “!Knän, die Meuder und das kleine Ursele” (these archaic words give the piece a deliberate old world air). Nylund sings a long passage describing the horrors of war, which ends with !”O armes geknechtetes Deutschland”.

Now Simplicius has wised up and heads into the forest where he meets a Hermit (another Tarot figure). The Hermit (Will Hartmann) sings music like stylized monastic chant, wavering weirdly. He teaches Simplicius to sing Unser Vater (Our Father). Give us our daily bread”. Simplicius, incorrigibly naive, asks “auch Käs dazu?” (and cheese, too?) Eventually the Hermit dies, leaving Simplicius to face the world alone. Provocatively, Hartmann writes into the death music an echo of the Kaddish.

Another powerful intermezzo, swirling strings, plunging brass, depicting storm clouds perhaps, as Simplicismus is flown into the Governor’s mansion. The soldiers boast of their tyranny and blaspheme. This chorus sound like drunken communal singing in a beer cellar, also a reference perhaps to the Nazis. This time Simplicius pipes up “that’s no way to speak”. “Can you hear the Mauskopf piepsen?” shouts the Governor. And of course, Simplicius’s music is flute and clarinet. The Governer (Volle) recites rather than sings, not Sprechstimme, but oddly discordant. He can’t figure the simpleton out.

Then Nylund’s tour de force. Words pour out of her at a shrill rapid pace, almost no time to take a breath. Using speech instead of song was a deliberate device by Hartmann to confront the audience. Simplicius harangues the listeners, without music to soften the effect. As she finds her strength her words are supported by drums. A militant but not military march? Then suddenly her voice rises in song. Es dröhnt die Stadt, es stapft daher, schäumende bitt’re Jammersg’walt. She’s joined by the chorus now representing farmers, the victims of the Thirty Years War. “Gepriesen sei der Richter der Wahrheit!” (Blessed be the Truth) sings Simplicius, now transformed into a symbol of hope. Behind her muffled drums and cymbals, the choir now softly humming, and the Sprecher reminds us that by 1648, 8 million Germans were killed.

Significantly, Hartmann dedicated the 1955/6 revision to Carl Orff whose Carmina Burana used a similar fake medieval context, which the Nazis loved, though they missed the subversive undercurrents. Hartmann knew what it was like living in a police state. More double-edged meaning. Simplicissimus is also the title of a magazine that satirized all abuses of power, military, political and religious. It was based in Munich, where Hartmann lived. While the stylized formality presages Stravinsky’s The Rake’s Progress, Hartmann’s Simplicius Simplicissimus stems from the Weimar tradition of political theatre.

As a plus,there’s a half hour discussion with recordings of Hartmann’s voice on the second CD in this set. As a minus, this set falls down as there’s no translation. One might think that an opera where German-language speech rhythms are so important won’t need translation because anyone listening will be fluent. But many of the words are archaic, not that easy for non-native speakers to follow. And non-Germans need to know this opera, to better understand Germany, the experience of war and the role of modern music.

Anne Ozorio

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):