Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

First Night of the BBC Proms : Elgar The Kingdom

The BBC Proms 2014 season began with Sir Edward Elgars The Kingdom (1903-6). It was a good start to the season,which commemorates the start of the First World War. From that perspective Sir Andrew Davis's The Kingdom moved me deeply.

Le nozze di Figaro, Munich

One is unlikely to come across a cast of Figaro principals much better than this today, and the virtues of this performance indeed proved to be primarily vocal.

James Gilchrist at Wigmore Hall

Assured elegance, care and thoughtfulness characterised tenor James Gilchrist’s performance of Schubert’s Schwanengesang at the Wigmore Hall, the cycles’ two poets framing a compelling interpretation of Beethoven’s An die ferne Geliebte.

Music for a While: Improvisations on Henry Purcell

‘Music for a while shall all your cares beguile.’ Dryden’s words have never seemed as apt as at the conclusion of this wonderful sequence of improvisations on Purcell’s songs and arias, interspersed with instrumental chaconnes and toccatas, by L’Arpeggiata.

Nabucco at Orange

The acoustic of the gigantic Théâtre Antique Romain at Orange cannot but astonish its nine thousand spectators, the nearly one hundred meter breadth of the its proscenium inspires awe. There was excited anticipation for this performance of Verdi’s first masterpiece.

Richard Strauss: Notturno

Richard Strauss may be most closely associated with the soprano voice but this recording of a selection of the composer’s lieder by baritone Thomas Hampson is a welcome reminder that the rapt lyricism of Strauss’s settings can be rendered with equal beauty and character by the low male voice.

Saint Louis: A Hit is a Hit is a Hit

Opera Theatre of Saint Louis has once again staked claim to being the summer festival “of choice” in the US, not least of all for having mounted another superlative world premiere.

La Flûte Enchantée (2e Acte)
at the Aix Festival

In past years the operas of the Aix Festival that took place in the Grand Théâtre de Provence began at 8 pm. The Magic Flute began at 7 pm, or would have had not the infamous intermittents (seasonal theatrical employees) demanded to speak to the audience.

Ariodante at the Aix Festival

High drama in Aix. Three scenarios in conflict — those of G.F. Handel, Richard Jones and the intermittents (disgruntled seasonal theatrical employees). Make that four — mother nature.

Lucy Crowe, Wigmore Hall

The programme declared that ‘music, water and night’ was the connecting thread running through this diverse collection of songs, performed by soprano Lucy Crowe and pianist Anna Tilbrook, but in fact there was little need to seek a unifying element for these eclectic works allowed Crowe to demonstrate her expressive range — and offered the audience the opportunity to hear some interesting rarities.

The Turn of the Screw, Holland Park

‘Only make the reader’s general vision of evil intense enough … and his own experience, his own imagination, his own sympathy … will supply him quite sufficiently with all the particulars.

Plenty of Va-Va-Vroom: La Fille du Regiment, Iford

It is not often that concept, mood, music and place coincide perfectly. On the first night of Opera della Luna’s La Fille du Regiment at Iford Opera in Wiltshire, England we arrived with doubts (rather large doubts it should be admitted)as to whether Donizetti’s “naive and vulgar” romp of militarism and proto-feminism, peopled with hordes of gun-toting soldiers and praying peasants, could hardly be contained, surely, inside Iford’s tiny cloister?

La finta giardiniera, Glyndebourne

‘Lovers and madmen have such seething brains,/ Such shaping fantasies, that apprehend/ More than cool reason ever comprehends.’

Sophie Karthäuser, Wigmore Hall

Belgian soprano Sophie Karthäuser has a rich range of vocal resources upon which to draw: she has power and also precision; her top is bright and glinting and it is complemented by a surprisingly full and rich lower register; she can charm with a flowing lyrical line, but is also willing to take musical risks to convey emotion and embody character.

Ariadne auf Naxos, Royal Opera

‘When two men like us set out to produce a “trifle”, it has to become a very serious trifle’, wrote Hofmannsthal to Strauss during the gestation of their opera about opera.

Leoš Janáček : The Cunning Little Vixen, Garsington Opera at Wormsley

Janáček started The Cunning Little Vixen on the cusp of old age in 1922 and there is something deeply elegiac about it.

La Traviata in Marseille

It took only a couple of years for Il trovatore and Rigoletto to make it from Italy to the Opéra de Marseille, but it took La traviata (Venice, 1853) sixteen years (Marseille, 1869).

Madama Butterfly in San Francisco

Gesamtkunstwerk, synthesis of fable, sound, shape and color in art, may have been made famous by Richard Wagner, and perhaps never more perfectly realized than just now by San Francisco Opera.

Luca Francesconi : Quartett, Linbury Studio Theatre, London

Luca Francesconi is well-respected in the avant garde. His music has been championed by the Arditti Quartett and features regularly in new music festivals. His opera Quartett has at last reached London after well-received performances in Milan and Amsterdam.

Puccini Manon Lescaut, Royal Opera House, London

Manon Lescaut at the Royal Opera House, London, brings out the humanity which lies beneath Puccini's music. The composer was drawn to what we'd now called "outsiders. In Manon Lescaut, Puccini describes his anti-heroine with unsentimental honesty. His lush harmonies describe the way she abandons herself to luxury, but he doesn't lose sight of the moral toughness at the heart of Abbé Prévost's story, Manon is sensual but, like her brother, fatally obssessed with material things. Only when she has lost everything else does she find true values through love..

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):