Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Herbert Howells: Choir of King’s College, Cambridge

The Choir of King’s College, Cambridge has played a role in the evolution of British music. This recording honours this heritage and Stephen Cleobury’s contribution in particular by focusing on Herbert Howells, who transformed the British liturgical repertoire in the 20th century.

Laurent Pelly's production of La Fille du régiment returns to Covent Garden

French soprano Sabine Devieilhe seems to find feisty adolescence a neat fit. I first encountered her when she assumed the role of a pill-popping nightclubbing ‘Beauty’ - raced from ecstasy-induced wonder to emergency ward - when I reviewed the DVD of Krzysztof Warlikowski’s production of Handel’s Il trionfo del Tempo e del Disinganno at Aix-en-Provence in 2016.

The Rise and Fall of the City of Mahagonny in Aix

Make no mistake, this is about you! Jim laid-out dead on the stage floor, conductor Esa-Pekka Salonen brought his very loud orchestra (London’s Philharmonia) to an abrupt halt. Black out. The maestro then turned his spotlighted face to confront us and he held his stare. There was no mistake, the music was about us.

Mozart's Travels: Classical Opera and The Mozartists at Wigmore Hall

There was a full house at Wigmore Hall for Classical Opera’s/The Mozartists’ final concert of the 2018-19 season: a musical paysage which chartered, largely chronologically, Mozart’s youthful travels from London to The Hague, on to Paris, then Rome, concluding - following stop-overs in European cultural cities such as Munich and Vienna - with an arrival at his final destination, Prague.

Tosca in Aix

From the sublime — the Mozart Requiem — to the ridiculous, namely stage director Christophe Honoré's Tosca. A ridiculous waste of operatic resources.

A terrific, and terrifying, The Turn of the Screw at Garsington

One might describe Christopher Oram’s set for Louisa Muller’s new production of The Turn of the Screw at Garsington as ‘shabby chic’ … if it wasn’t so sinister.

Mozart Requiem in Aix

Pierre Audi, now the directeur général of the Festival d’Aix as well as the artistic director of New York City’s Park Avenue Armory opens a new era for this distinguished opera festival in the south of France with a new work by the Festival’s signature composer, Wolfgang Amadeus Mozart.

A Rachmaninov Drama at Middle Temple Hall

It is Rachmaninov’s major works for orchestra - the Second and Third Piano Concertos, the Rhapsody on a Theme of Paganini, the Symphonic Dances - alongside the All-Night Vespers and the music for solo piano, which have earned the composer a permanent place in the concert repertoire today.

Fun, Frothy, and Frivolous: L’elisir d’amore at Las Vegas

There are a dizzying array of choices for music entertainment in Las Vegas ranging from Celine Dion and Cher to Paul McCartney and Aerosmith. Admittedly, these performers are a far cry from opera, but the point is that Las Vegas residents have many options when it comes to live music.

McVicar's production of Mozart's Le nozze di Figaro returns to the Royal Opera House

David McVicar's production of Mozart's Le nozze di Figaro at the Royal Opera House, Covent Garden, has been a remarkable success since it debuted in 2006. Set with the Count of Almaviva's fearfully grand household in 1830, McVicar's trick is to surround the principals by servants in a supra-naturalistic production which emphasises how privacy is at a premium.

The Cunning Little Vixen at the Barbican Hall

The presence of a large cast of ‘animals’ in Janáček’s The Cunning Little Vixen can encourage directors and designers to create costume-confections ranging from Disney-esque schmaltz to grim naturalism.

Barbe-Bleue in Lyon

Stage director Laurent Pelly is famed for his Offenbach stagings, above all others his masterful rendering of Les Contes d’Hoffmann as a nightmare. Mr. Pelly has staged eleven of Offenbach’s ninety-nine operettas over the years (coincidently this production of Barbe-Bleue is Mr. Pelly’s ninety-eighth opera staging).

Mieczysław Weinberg: Symphony no. 21 (“Kaddish”)

Mieczysław Weinberg witnessed the Holocaust firsthand. He survived, though millions didn’t, including his family. His Symphony no. 21 “Kaddish” (Op. 152) is a deeply personal statement. Yet its musical qualities are such that they make it a milestone in modern repertoire.

The Princeton Festival Presents Nixon in China

The Princeton Festival has adopted a successful and sophisticated operatic programming strategy, whereby the annual opera alternates between a standard warhorse and a less known, more challenging work. Last year Princeton presented Puccini’s Madama Butterfly. This year the choice is Nixon in China by modern American composer John Adams, which opened before a nearly full house of appreciative listeners.

Humperdinck's Hansel and Gretel at Grange Park Opera

When Engelbert Humperdinck's sister, Adelheid Wette, wrote the libretto to Hansel and Gretel the idea of a poor family living in a hut near the woods, on the bread-line, would have had an element of realism to it despite the sentimental layers which Wette adds to the tale.

Handel’s Belshazzar at The Grange Festival

What a treat to see members of The Sixteen letting their hair down. This was no strait-laced post-concert knees-up, but a full on, drunken orgy at the court of the most hedonistic ruler in the Old Testament.

Kenshiro Sakairi and the Tokyo Juventus Philharmonic in Mahler’s Eighth

Although some works by a number of composers have had to wait uncommonly lengthy periods of time to receive Japanese premieres - one thinks of both Mozart’s Jupiter and Beethoven’s Fifth (1918), Handel’s Messiah (1929), Wagner’s Parsifal (1967), Berlioz’s Roméo et Juliette (1966) and even Bruckner’s Eighth (1959, given its premiere by Herbert von Karajan) - Mahler might be considered to have fared somewhat better.

Don Giovanni in Paris

A brutalist Don Giovanni at the Palais Garnier, Belgian set designer Jan Versweyveld installed three huge, a vista raw cement towers that overwhelmed the Opéra Garnier’s Second Empire opulence. The eight principals faced off in a battle royale instigated by stage director Ivo van Hove. Conductor Philippe Jordan thrust the Mozart score into the depths of expressionistic conflict.

A riveting Rake’s Progress from Snape Maltings at the Aldeburgh Festival

Based on Hogarth’s 18th-century morality tale in eight paintings and with a pithy libretto by W.H. Auden and Chester Kallman, Stravinsky’s operatic farewell to Neo-classicism charts Tom Rakewell’s ironic ‘progress’ from blissful ignorance to Bedlam.

The Gardeners: a new opera by Robert Hugill

‘When war shall cease this lonely unknown spot,/ Of many a pilgrimage will be the end,/ And flowers will shine in this now barren plot/ And fame upon it through the years descend:/ But many a heart upon each simple cross/ Will hang the grief, the memory of its loss.’

OPERA TODAY ARCHIVES »

Reviews

Angelika Kirchschlager [Photo by Nikolaus Karlinsy]
07 Nov 2010

Angelika Kirchschlager, German Lieder 1830-40 Wigmore Hall

Angelika Kirchschlager and Malcolm Martineau at the Wigmore Hall showed what real Lieder singing should be.

Angelika Kirschlager, German Lieder 1830-40 Wigmore Hall — Songs by Felix Mendelssohn, Fanny Memndelssohn, Franz Paul Lachner, Carl Loewe

Angelika Kirchschlager, Malcolm Martineau. Wigmore Hall London. 5th November 2010.

Above: Angelika Kirchschlager [Photo by Nikolaus Karlinsy]

 

Of course Lieder can be enjoyed on a superficial level as pure sound, but it’s infinitely more rewarding when intelligent interpretation brings out true depth.

There are celebrities of whom it’s said that opera fans think they’re Lieder singers, and Lieder fans think they’re opera singers. But not of Kirchschlager, who is superlative in both genres.

This was an unusual programme, far more difficult to carry off than might seem in theory. Instead of going for surefire hit material, Kirchschlager and Martineau chose material that showed how fertile German song writing was in the decade 1830-40. These are most certainly not “Victorian parlour songs” as they were written for sophisticated and intellectual audiences who knew the composers and poets well. Fanny Mendelssohn gave regular recitals at home, which were attended by the best minds in Berlin, and were so popular that the house was extended to cope with guests. Salons like these were the way artistic people converged. The Schubertiades were by no means unique.

Felix Mendelssohn’s songs about Spring are gloriously ecstatic, “Frühlingstrunknen Blumen”, (spring-intoxicated flowers) are not merely decorative but a metaphor for new life after hard times. Kirchschlager’s voice rises lithely, then dips sensuously round words like “Nun muss sich alles, alles wenden” (All things must change) Winter will return, but Mendelssohn embraces the moment of energy. Kirchschlager’s perception brought out the link between the Spring songs and the second set of Mendelssohn songs. Auf Flügeln des Gesanges(op 34/2), for example, is sensual. Then a real stroke of good programme planning. In Neue Liebe(op 19a/4), the queen of the elves appears and smiles enigmatically. Is it new love, or death?

This reinforces the meaning of Franz Paul Lachner’s Die badende Elfe. Most people have heard of Lachner in connection with Richard Wagner, who ousted him from Munich. Lachner’s song cycle Sängerfahrt op 33 dates from 1831-2 when he still lived in Vienna. While he was influenced by Schubert, whom he knew personally, Lachner’s songs evoke earlier traditions, for example the songs of Carl Zelter, who introduced Goethe to young Felix Mendelssohn.

There are some wonderful songs in Lachner’s Sängerfahrt, though Kirchschlager sang only four, probably wisely as some don’t suit female voice. But how she made a case for them ! Die badende Elfe came vividly to life, Martineau playing arpeggiations that sparkled as delicately as water and light. Kirchschlager’s timbre was clear, bright, almost trembling with excitement. A man spies a water nymph bathing in the moonlight. Since the poem is by Heine, expect deeper meanings. Kirchschlager shapes the phrase “Arm und Nacken, weiss und lieblich” sensually. What’s turning the poet on is implicit, especially since Lachner wrote the songs for his bride-to-be. Pure, chaste,but erotic.

it’s hard to forget Schumann’s Dichterliebe settings of Im Mai and Eine Liebe, but Kirchschlager did Lachner more than justice. I’ve heard three versions of these songs and thought I knew them well, but Kirchschlager’s a revelation. Her lucidity eclipses all else. Martineau’s playing, too, convinced me that modern piano isn’t necessarily a bar to freeing the energy in these songs. The explicitly Schubertian elements in Die einsame Träne might sound derivative, but Kirchschlager sings with conviction. The “falling tears” in the piano part work well because Martineau is light of hand and pedal.

Three of the Fanny Mendelssohn songs heard here come from her Op 1. They’re not early works, but the first published, which was a daring act for a woman of her status at that time. She was a pianist rather than a singer, so her songs give Martineau a chance to bring out their best qualities. In Schwanenlied,(op 1/1) for example, slow, graceful movement, and the ending dissolves mysteriously. The poet’s Heine, whom Fanny met and disliked, but the song captures the foreboding behind the shining surface. On the other hand, in Warum sind denn, die Rosen so blass, (op1/3) she replaces Heine’s “Leichenduft”(stink of a rotting corpse) with the word “Blümenduft”. (scent of flowers).

Kirchschlager and Martineau also chose Carl Loewe’s op 60 setting of the Chamisso poems Schumann made immortal in Frauenliebe und Leben. Here, Kirchschlager filled lines like “die Quelle der Freudigkeit” with such warmth that even the most fervent feminist could not doubt its sincerity. Martineau made much of the almost Brahmsian richness in the piano part, particularly lovely in An meinen Herzen. Since Brahms was at the time only three years old, it’s an indication of how significant Loewe was, and why the music of this decade, 1830-40 needs further assessment.

Loewe’s songs are vivid and imaginative. Two songs from his Vier Fabbelieder op 64 (1837) gave Kirchschlager a chance to show what a vivid character singer she can be, combining her opera experience with true Lieder singing. Der Kuckkuck uses the same Wunderhorn text that Mahler would set fifty years later. Thanks to Kirchschlager, Loewe’s cuckoo is funnier, even if the donkey cry, “Ija ! Ija!” isn’t quite so obvious. More of a challenge was the long strophic ballad, Der verliebte Maikäfer (Glow worm in Love). A foppish glow worm courts a fly but is too vain to see she can’t stand him. Nice growling sounds to create the lumpen bug, light sharp sounds for the fly. The punchline comes at the end, when the story changes - two (human) lovers are about to fool around at night. The story’s complicated, but Kirchschlager’s diction is so clear that meaning comes through even if you don’t know German. This is where her experience shows. She acts through her voice, expressively, never losing the sharp wit beneath the charm.

This concert was being recorded for future broadcast. If it’s released on CD, it will be a must for anyone seriously interested in Lieder.

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):