01 Jun 2011
Brahms Liebesliederwalzer, Wigmore Hall, London
Any performance of Brahms and Schumann four part songs is an occasion.
“Hi! I’m at the Wigmore Hall!” American mezzo-soprano Jamie Barton’s exuberant excitement at finding herself performing in the world’s premier lieder venue was delightful and infectious. With accompanist James Baillieu, Barton presented what she termed a “love-fest” of some of the duo’s favourite art songs. The programme - Turina, Brahms, Dvořák, Ives, Sibelius - was also surely designed to show-case Barton’s sumptuous and balmy tone, stamina, range and sheer charisma; that is, the qualities which won her the First and Song Prizes at the 2013 BBC Cardiff Singer of the World Competition.
“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure, this new production presents the plot as the dying protagonist’s feverish hallucinations. The result is a frosty retelling of what is arguably Puccini’s most hot-blooded opera. Musically, the performance also left much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang bergetar akan terhapus.” (“The transient cannot hold on to stars lost in the Milky Way; that which quivers will be erased.”) As soprano Tony Arnold sang these words of Tony Prabowo’s chamber opera Pastoral, with astonishingly crisp Indonesian diction, the first night of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
Manitoba Underground Opera took audiences on a journey — literally and figuratively — as it presented its latest installment of repertory opera between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
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,