01 Jun 2011
Brahms Liebesliederwalzer, Wigmore Hall, London
Any performance of Brahms and Schumann four part songs is an occasion.
Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17. Perfection, as one would expect from arguably the finest Rameau interpreters in the business, and that's saying a lot, given the exceptionally high quality of French baroque performance in the last 40 years.
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. The world of commercial public opera had only just dawned with the opening of the Teatro San Cassiano in Venice in 1637 and for the first time opera became open to all who could afford a ticket, rather than beholden to the patronage of generous princes. Monteverdi took full advantage of the new stage and at the age of 73 brought all his experience of more than 30 years of opera-writing since his ground-breaking L’Orfeo (what a pity we have lost all those works) to the creation of two of his greatest pieces, Ulysses and then his final masterpiece, Poppea.
Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission. It is a sad state of affairs when a season that includes both Boulevard Solitude and Moses und Aron is considered exceptional, but it is - and is all the more so when one contrasts such seriousness of purpose with the endless revivals of La traviata which, Die Frau ohne Schatten notwithstanding, seem to occupy so much of the Royal Opera’s effort. That said, if the Royal Opera has not undertaken what would be only its second ever staging of Schoenberg’s masterpiece - the first and last was in 1965, long before most of us were born! - then at least it has engaged in a very welcome ‘WNO at the Royal Opera House’ relationship, in which we in London shall have the opportunity to see some of the fruits of the more adventurous company’s endeavours.
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. During the rehearsals for the premiere - just 3 for the orchestra and one 3-hour rehearsal for the whole ensemble - the composer made many changes, and such alterations continued so that by the time of the only other performance during Janáček’s lifetime, in Prague in April 1928, many of the instrumental (especially brass) lines had been doubled, complex rhythmic patterns had been ‘ironed-out’ (the Kyrie was originally in 5/4 time), a passage for 3 off-stage clarinets had been cut along with music for 3 sets of pedal timpani, and choral passages were also excised.
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.
Assured elegance, care and thoughtfulness characterised tenor James Gilchrist’s performance of Schubert’s Schwanengesang at the Wigmore Hall, the cycles’ two poets framing a compelling interpretation of Beethoven’s An die ferne Geliebte.
‘Music for a while shall all your cares beguile.’ Dryden’s words have never seemed as apt as at the conclusion of this wonderful sequence of improvisations on Purcell’s songs and arias, interspersed with instrumental chaconnes and toccatas, by L’Arpeggiata.
The acoustic of the gigantic Théâtre Antique Romain at Orange cannot but astonish its nine thousand spectators, the nearly one hundred meter breadth of the its proscenium inspires awe. There was excited anticipation for this performance of Verdi’s first masterpiece.
Opera Theatre of Saint Louis has once again staked claim to being the summer festival “of choice” in the US, not least of all for having mounted another superlative world premiere.
In past years the operas of the Aix Festival that took place in the Grand Théâtre de Provence began at 8 pm. The Magic Flute began at 7 pm, or would have had not the infamous intermittents (seasonal theatrical employees) demanded to speak to the audience.
High drama in Aix. Three scenarios in conflict — those of G.F. Handel, Richard Jones and the intermittents (disgruntled seasonal theatrical employees). Make that four — mother nature.
The programme declared that ‘music, water and night’ was the connecting thread running through this diverse collection of songs, performed by soprano Lucy Crowe and pianist Anna Tilbrook, but in fact there was little need to seek a unifying element for these eclectic works allowed Crowe to demonstrate her expressive range — and offered the audience the opportunity to hear some interesting rarities.
‘Only make the reader’s general vision of evil intense enough and his own experience, his own imagination, his own sympathy will supply him quite sufficiently with all the particulars.
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,