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

Peter Grimes in Princeton

The Princeton Festival presents one opera annually, amidst other events. Its offerings usually alternate annually between 20th century and earlier operas. This year the Festival presented Benjamin Britten’s Peter Grimes, now a classic work, in a very effective and moving production.

Scintillating Strauss in Saint Louis

If you like your Ariadne on Naxos productions as playful as a box of puppies, then Opera Theatre of Saint Louis is the address for you.

Saint Louis Takes On ‘The Scottish Opera’

Opera Theatre of Saint Louis took forty years before attempting Verdi’s Macbeth but judging by the excellence of the current production, it was well worth the wait.

Anatomy Theater: A Most Unusual New Opera

On June 16, 2016, Los Angeles Opera with Beth Morrison Projects presented the world premiere of Pulitzer Prize-winning composer David Lang's Anatomy Theater at the Roy and Edna Disney/CalArts Theater (REDCAT).

Shalimar in St. Louis: Pagliaccio Non Son

In its compact forty-year history, the ambitious Opera Theatre of Saint Louis has just triumphantly presented its twenty-fifth world premiere with Shalimar the Clown.

Jenůfa, ENO

The sharp angles and oddly tilting perspectives of Charles Edwards’ set for David Alden’s production of Jenůfa at ENO suggest a community resting precariously on the security and certainty of its customs, soon to slide from this precipice into social and moral anarchy.

The “Other” Marriage of Figaro in a West Village Townhouse

Last week an audience of 50 assembled in the kitchen of a luxurious West Village townhouse for a performance of Marriage of Figaro.

West Wind: A new song-cycle by Sally Beamish

In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.

Florencia en el Amazonas, NYCO

With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past

Idomeneo, re di Creta, Garsington

Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.

Don Carlo in San Francisco

Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.

Jenůfa in San Francisco

The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.

Musings on the “American Ring

Now that the curtain has long fallen on the third and last performance of the Ring cycle at the Washington National Opera (WNO), it is safe to say that the long-anticipated production has been an unqualified success for the company, director Francesca Zambello, and conductor Philippe Auguin.

Nabucco, Covent Garden

Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.

Tristan, English National Opera

My first Tristan, indeed my first Wagner, in the theatre was ENO’s previous staging of the work, twenty years ago, in 1996. The experience, as it should, as it must, although this is alas far from a given, quite overwhelmed me.

The Cunning Little Vixen, Glyndebourne

Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found myself surprised how much more warmly I responded to it this time.

London: A 90th birthday tribute to Horovitz

This recital celebrated both the work of the Park Lane Group, which has been supporting the careers of outstanding young artists for 60 years, and the 90th birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to England aged 12.

Opera Las Vegas: A Blazing Carmen in the Desert

Headed by General Director Luana DeVol, a world-renowned dramatic soprano, Opera Las Vegas is a relatively new company that presents opera with first-rate casts at the University of Las Vegas’s Judy Bayley Theater. In 2014 they presented Rossini’s The Barber of Seville and in 2015, Puccini’s Madama Butterfly. This year they offered a blazing rendition of Georges Bizet’s Carmen.

La bohème, Opera Holland Park

Ever since a friend was reported as having said he would like something in return for modern-dress Shakespeare (how quaint that term seems now, as if anyone would bat an eyelid!), namely an Elizabethan-dress staging of Look Back in Anger, I have been curious about the possibilities of ‘down-dating’, as I suppose we might call it. Rarely, if ever, do we see it, though.

Holland Festival: Alban Berg’s Wozzeck, Amsterdam

Leading a very muscular Dutch Radio Philharmonic, Principal Conductor Markus Stenz brilliantly delivered Alban Berg’s Wozzeck with a superb Florian Boesch in the lead and a mesmerising Asmik Grigorian as Marie his wife.

OPERA TODAY ARCHIVES »

Reviews

Florian Boesch [Photo by Stefan von der Deken]
19 May 2010

Florian Boesch, Wigmore Hall

At the Wigmore Hall, performers can chose daring repertoire, because audiences there are unusually receptive.

Schubert, Wolf, Zemlinsky and Ernst Krenek

Florian Boesch, baritone; Malcolm Martineau, piano. Wigmore Hall,

Above: Florian Boesch [Photo by Stefan von der Deken]

 

Florian Boesch and Malcolm Martineau presented Schubert and Hugo Wolf with Zemlinsky and Ernst Krenek.

Florian Boesch is very well regarded and a regular at the Wigmore Hall. Malcolm Martineau’s even more of a fixture, as his mother was page turner there years ago — his connections go back a long way. Together they are a draw you don’t miss, but this programme was something special.

Two versions of Goethe’s Prometheus, for example, Schubert D 674 from 1819 and Hugo Wolf, from1889. Both are naturally full of foreboding, for Prometheus defied the gods and was doomed to suffer for eternity. Yet both reflect the times in which they were written. Schubert’s version is powerful, but classically elegant. Wolf’s version could only have been written after Richard Wagner changed the way the world hears dramatic music. Wolf’s passionate outbursts sound almost demented, Boesch’s voice ringing with frenzy, Martineau pounding the keys in suppressed fury, less heavy on the pedal than he’d been in Schubert, but better for that.

Between the two versions of Prometheus, Boesch and Martineau pitted Schubert’s Gesange des Harfners songs (D 478, 480 and 479) with Wolf’s *Three Lieder to texts by Michelangelo *(1897). The latter are amongst the darkest pieces Wolf wrote, worlds away from the airy Mörike songs. Relatively few singers excel in them, for conversely, they need a certain lightness of touch to heighten the shadows. Boesch doesn’t have quite the same richness of colour Goerne can bring to these songs, but he’s reasonably flexible. The phrase, “Alles endet, was entstehet” was quietly sung, with delicacy.

Pairing Alexander Zemlinsky with Ernst Krenek was interesting, too. Zemlinsky composed a great many Lieder, and indeed may have polished Alma Mahler’s Lieder with her. His songs,though, don’t generally reach the imaginative heights of The Lyric Symphony. Die schlanke Wasserlilie, In der Ferne and Wand’l ich in dem Wald des Abends are among the best known. Had Boesch and Martineau paired Zemlinsky’s *Waldegesprache *with the version by Robert Schumann, the difference would have been telling. Few performances make Zemlinsky’s songs much more than pleasant, but it’s not necessarily for lack of trying.

The highlight of the evening were seven songs from Ernst Krenek’s Reisebuch aus den österreichischen Alpen op 62 (1929). This is a remarkable cycle of 20 songs, a seminal work of the 20th century. Krenek’s opera Jonny Spielt Auf was notoriously modern, featuring jazz tunes and a black saxophonist: definitely “degenerate music” which horrified many at the time, including Julius Korngold, the arch-conservative critic.

Austria was now no longer a colourful polyglot Empire, but a truncated rump of German speakers, who weren’t German. This identity crisis was further compounded by modern change, new technology and new values. Thus Krenek left Vienna for the Alps, to find, if he could, the Austrian soul. “Ich reise aus, meine Heimat zu entdecken”. Throughout the cycle, there are references to “Technik Sklaven” (slaves to technology) to hardship, vulgar capitalism, dirty politics and the evils of war.

Krenek coats his songs with sarcasm, for the cycle is a savage indictment of modern society. Alpenbewohner, for example refers to “wilden Nomaden”, ie German daytrippers who tear around rural Austria on their motorbikes, drunkenly offending the locals. But the locals are poor, they need the income tourists bring and are powerless to resist. Krenek didn’t know, in 1929, how prophetic his observations would prove.

The final song, Epilog, is relatively upbeat. Krenek sees an old saying carved on a sign above a door, a very Austrian touch. We may not know when or how our lives may end but somehow we’re happy, it suggests. Krenek seems to conclude that change is inevitable, and must be faced, but doesn’t necessarily preclude happiness.

On their own, the seven songs from the cycle don’t really convey the full impact of the full Reisebuch, though they have been produced as a group in the past. Boesch and Martineau performed them very well, but it would have helped greatly if the programme notes had been up to the usual high standards one expects from the Wigmore Hall.

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):