Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Król Roger, Royal Opera

It has taken almost 89 years for Karol Szymanowski’s Król Roger to reach the stage of Covent Garden.

San Diego Opera Celebrates 50 Years of Great Singing

San Diego Opera, the company that General Manager Ian Campbell had scheduled for demolition, proved that it is alive and singing as beautifully as ever. Its 2015 season was cut back slightly and management has become a bit leaner, but the company celebrated its fiftieth season in fine style with a concert that included many of the greatest arias ever written.

Hercules vs Vampires: Film Becomes Opera!

In the early sixties, Italian film director Mario Bava was making pictures with male body builders whose well oiled physiques appeared spectacular on the screen.

J. C. Bach: Adriano in Siria

At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.

Bethan Langford, Wigmore Hall

The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.

Tansy Davies: Between Worlds (world premiere)

An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.

Arizona Opera Ends Season in Fine Style with Fille du Régiment

On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.

Il turco in Italia, Royal Opera

This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.

The Siege of Calais
——
The Wild Man of the West Indies

English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare The Wild Man of the West Indies (Il furioso all’isola di San Domingo).

The Met’s Lucia di Lammermoor

Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints

Voices, voices in space, and spaces: Thoughts on 50 years of Meredith Monk

When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda Chant II, which concluded the four-and-a-half hour Meredith Monk & Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.

St. John Passion by Soli Deo Gloria, Chicago

This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.

Fedora in Genoa

It is not an everyday opera. It is an opera that illuminates a larger verismo history.

The Marriage of Figaro, LA Opera

On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.

The Tempest Songbook, Gotham Chamber Opera

Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to explore the possibilities of unconventional spaces and unconventional programs that the company has made its hallmark. The results were musically and theatrically thought-provoking, and left me wanting more.

San Diego Opera presents Adams’ Riveting Nixon in China

Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.

Ars Minerva presents Castrovillari’s La Cleopatra in San Francisco

It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.

An Ideal Cast in Chicago’s Tannhäuser

Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.

Madame Butterfly, Royal Opera

Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.

Tosca in Marseille

Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.

OPERA TODAY ARCHIVES »

Performances

Johannes Brahms (1833-1897)
01 Jun 2011

Brahms Liebesliederwalzer, Wigmore Hall, London

Any performance of Brahms and Schumann four part songs is an occasion.

Schumann and Brahms, Wigmore Hall

Sylvia Schwartz, Bernarda Fink, Michael Schade, Robert Holl, Justus Zeyen, Malcolm Martineau, Wigmore Hall, London, 26th May 2011

Above: Johannes Brahms (1833-1897)

 

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.

Anne Ozorio

Programme:

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,

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):