01 Jun 2011
Brahms Liebesliederwalzer, Wigmore Hall, London
Any performance of Brahms and Schumann four part songs is an occasion.
Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.
Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.
Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.
Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.
On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.
Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.
In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.
Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.
Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.
Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.
The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.
Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.
If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.
Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927.
With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.
Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.
Twenty years ago stage director Christopher Alden introduced Rossini’s then forgotten comedy to Southern California audiences in a production that is still remembered. In Aix Alden has revisited this complex work that many critics now consider Rossini’s greatest comedy.
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.
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.
That’s A Winter’s Journey and A Night of Mourning for metteurs-en-scène William Kentridge (South Africa) and Katie Mitchell (Great Britain), completing the clean sweep of English language stage directors for the Aix Festival productions this year.
Any performance of Brahms and Schumann four part songs is an occasion.
They aren’t performed live as often as they should be because they need four singers, two pianists and plenty of flair.
At this recital in London’s Wigmore Hall, the singers were Bernarda Fink, Sylvia Schwartz, Michael Schade and Robert Holl. The pianists were Malcolm Martineau and Justus Zeyen.
Appropriately, the evening began with Schumann’s Spanische Liebeslieder op 138 (1849) for they use the same forces as Brahms was to use in his two Liebeslieder Walzer op 52 and 65. Although Schumann’s song are set to Emanuel Giebell’s translations of Spanish and Portuguese texts, they’re not overtly Iberian. These charming songs would have been performed quite happily by talented amateur ensembles. This is sociable music, ideal for discreet flirations, perhaps. Weh, wie zornig ist das Mädchen, the men sing in mock alarm, in a song about an angry girl rushing off in a huff to the mountains. Then Fink sings Hoch, hoch sind die Berge about a girl upset because her lover’s headed for the hills. Joyful repartee, perfectly in order.
Brahms would have known the Schumann songs well, but, as Richard Stokes writes in his programme notes, they are not a “prototype” for the songs Brahms was to write twenty and twenty five years later. Brahms takes the concept of part song to an altogether more sophisticated level. Solo voices alternate with full ensemble, or divide into pairs. Voices sing in harmony, then suddenly revert to polyphony. Intervals and rhythms change. Sometimes the singers sing rounds, sometimes they weave intricate patterns around each other. In really good performances, the singing seems to almost levitate with energy. Significantly, Brahms called these songs Walzer, not Gesänge. They’re waltzes for the voice.
Moods change from the gruff, mock bucolic humour of O die Frauen to the elegant, arched lines of Wie des Abends where the female voices throw the words. “Einem, einem” and “Sonder, Ende, Wonne, sprühn” as if the vowels were garlands. Notice how Brahms pairs songs as partners to one another, and creates long cotillions, where songs move in formation, without a break between them.
Brahms doesn’t merely paint text, he works meaning into form itself. In Die grüne Hopfenranke, the four voices trill and entwine like the tendrils of the vine they’re singing about.
In this repertoire, Bernarda Fink was superlative. Her voice dances brightly, like the belle of the ball. When she needs depth, her voice darkens expressively. In Wahre, wahre, deinen Sohn, her voice becomes the witch/seductress who’ll kill if she can’t get her man. It’s an important song, for its adds menace to what on the surface seems a light hearted, lilting series of songs.
Robert Holl, too, was superb. Although he’s no longer in the first flush of youth, his technique is so good that he can bring agility to his voice which is rich and veers towards the darker range of his fach. He uses it well for dramatic effect, but here he moderated himself at times to blend in unison. That’s a sign of his artistic integrity. A lesser man might want to shine at the expense of the group. Holl knows that it’s ensemble that counts in these songs, not showmanship per se. He was a last minute substitute for Thomas Quasthoff, who was unwell, but Holl’s so experienced and so impressive, that it was no loss.
Some of the finest songs in both Brahms sets are written to showcase the tenor, and Michael Schade delivered well. Since the programme was devised around Quasthoff (the main pianist, Justus Zeyen, is Quasthoff’s regular partner), a Schreier or Prégardien would distract from the baritone part. Schade is good, though, providing a nice balance with Holl’s almost basso resonance.
The soprano was Sylvia Schwartz, a new name to me. She’s been in ensemble at the Deutsche Staatsoper, Berlin where her roles have included Zerlina. She doesn’t quite have the experience as the others and at times sounded pinched and exposed. It was heartening, though, to hear how Fink shielded Schwartz, giving her room so she could build confidence. Another sign of an artist who puts music before ego. Indeed, this is why part-songs like these are so enjoyable. Just as in a string quartet, the whole is greater than the sum of its parts.
Robert Schumann: Spanische Liebeslieder op 138
Johannes Brahms: Liebeslieder Walzer op 52, An die Heimat, Der Abend, O schöne Nacht, Abendlied Neue Liebeslieder Walzer op 65,