Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Prom 60: Bach and Bruckner

Bruckner, Bruckner, wherever one goes; From Salzburg to London, he is with us, he is with us indeed, and will be next week too. (I shall even be given the Third Symphony another try, on my birthday: the things I do for Daniel Barenboim…) Still, at least it seems to mean that fewer unnecessary Mahler-as-showpiece performances are being foisted upon us. Moreover, in this case, it was good, indeed great Bruckner, rather than one of the interminable number of ‘versions’ of interminable earlier works.

Prom 57: Semyon Bychkov conducts the BBCSO

Thomas Larcher’s Second Symphony (written 2015-16) here received its United Kingdom premiere, its first performance having been given by the Vienna Philharmonic and Semyon Bychkov in June this year. A commission from the Austrian National Bank for its bicentenary, it is nevertheless not a celebratory work, instead commemorating those refugees who have met their deaths in the Mediterranean Sea, ‘expressing grief over those who have died and outrage at the misanthropy at home in Austria and elsewhere’.

40 minutes with Barbara Hannigan...in rehearsal

One of the initiatives for the community at the Lucerne Festival is the ‘40 min’ series. A free concert given before the evening’s main event that ranges from chamber music to orchestral rehearsals.

Prom 54 - Mozart's Last Year with the Budapest Festival Orchestra

The mysteries and myths surrounding Mozart’s Requiem Mass - left unfinished at his death and completed by his pupil, Franz Xaver Süssmayr - abide, reinvigorated and prolonged by Peter Shaffer’s play Amadeus as directed on film by Miloš Forman. The origins of the work’s commission and composition remain unknown but in our collective cultural and musical consciousness the Requiem has come to assume an autobiographical role: as if Mozart was composing a mass for his own presaged death.

High Voltage Tosca in Cologne

I saw two operas consecutively at Oper Koln. First, the utterly bewildering Lucia di Lammermoor; then Thilo Reinhardt’s thrilling Tosca. His staging was pure operatic joy with some Hitchcockian provocations.

Haitink at the Lucerne Festival

Bernard Haitink’s monumental Bruckner and Mahler performances with the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music. His legendary performance of Bruckner’s Symphony No. 8 in C-minor, where in the Finale loosened plaster fell from the Concertgebouw ceiling, is still recounted in Amsterdam.

BBC Prom 45 - Janáček: The Makropulos Affair

Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.

Two Tales of Offenbach: Opera della Luna at Wilton's Music Hall

‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.

Britten Untamed! Glyndebourne: A Midsummer Night's Dream

This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?

Salzburg encores

A staged piano recital and an opera as a concert.  Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.

Leah Crocetto at Santa Fe

On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.

Angela Meade at Sante Fe

On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.

Turco in Italia in Pesaro

When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.

Proms Chamber Music 5: Shakespeare at 400

It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.

La donna del lago in Pesaro

Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.

Proms at … Sam Wanamaker Playhouse

This highly enjoyable Prom, part of 2016’s ‘Proms at …’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.

Santa Fe: Straussian Sweet Nothings

With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.

Santa Fe’s Civil War Gounod

When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.

Coolly Elegant Vanessa in the Desert

Molten passions were seething just below the icy Nordic exterior of Santa Fe Opera’s wholly masterful production of Barber’s Vanessa.

Le Comte Ory, Seattle

Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.

OPERA TODAY ARCHIVES »

Reviews

Christian Gerhaher [Photo by Hiromichi Yamamoto courtesy of KünstlerSekretariat am Gasteig]
26 Sep 2011

Christian Gerhaher, Wigmore Hall

Christian Gerhaher and Gerold Huber presented Schubert’s song cycles at the Wigmore Hall, London.

Franz Schubert: Die schöne Müllerin; Winterreise

Christian Gerhaher, baritone; Gerold Huber, piano. Wigmore Hall, London, 20th and 22nd September 2011.

Above: Christian Gerhaher [Photo by Hiromichi Yamamoto courtesy of KünstlerSekretariat am Gasteig]

 

Gerhaher has been singing at the Wigmore Hall for years, so regular Lieder audiences know him well. He shot into stardom with more mainstream opera audiences with his Wolfram in Wagner’s Tannhäuser at the Royal Opera House last year, which was reviewed in Opera Today. Gerhaher’s Wolfram was sensationally beautiful, perfectly fitting the other worldly, rarified purity that is in Wolfram’s character. Few baritones have that tenor-like lightness of touch. Gerhaher’s Wolfram shimmered, but Elisabeth still chose Tannhäuser. Think what Wagner meant by that.

Vocal music, almost by definition, is about meaning. One of the fundamental differences between opera and Lieder is how meaning is expressed. It’s not simply a question of refinement or detail, but of perspective. In opera, an artist creates a character defined by plot and music. In Lieder, the character “is” the artist himself. In opera, a singer is expressing what the role represents in the context of the opera. In most Lieder, text is confined to a few lines from which a singer must extract maximum possible meaning. No help from plot or orchestra. Opera singing is more extrospective. Lieder singing is more introspective.

The Schubert song cycles Die schöne Müllerin (D795) and Winterreise (D911) allow more context than single songs, but their narrative is internal, not external. Significantly, both are journeys, where landscape marks stages in the protagonists’ inner development. Gerhaher and Huber also gave a recital of Schwanengesang (D957), but it’s not actually a song cycle but a compilation put together by Schubert’s publisher after his death.

Die schöne Müllerin is interpretively more challenging because of its deliberate contradictions — cheerfully babbling brooks and declarations of love. But for whom, and by whom? The high tessitura is meant to suggest the miller’s naivety. It’s a complication that a light, airy baritone like Gerhaher doesn’t have to contend with, so the cycle is a good test of his interpretive skills. This performance was infinitely better than his recording with budget label Arte Nova six years ago, which fortunately will be superseded with a new recording. Gerhaher uses his range more effectively, and is more secure shaping phrases. His singing is particularly attractive in songs like “Des Müllers Blumen” which could be mistaken for a love song, out of context. Yet almost from the beginning the poems hint at altogether more sinister levels. The emotional range in this cycle is much more challenging than the vocal range. In “Der Jäger”, the miller’s jealousy erupts into anger. Gerhaher expresses this through increased volume and projection, which is effective enough, but doesn’t have quite the emotional wildness that can make this song so troubling. Gerhaher’s miller isn’t menacing, even in “Die böse Farbe ”with its hints of what today we’d call stalking, but a poetic dreamer. Gerhaher is pleasant, but if you want limpid sweetness, Fritz Wunderlich sings with such exquisite poise, his emotional denial is chilling.

What made this recital unusual was the inclusion of three poems from Wilhelm Müller’s original set of 25, which Schubert did not set. “Das Mühlenleben” describes the girl at the mill, but comes between “Der Neugierige ”and “Ungeduld,” which rather breaks the mood. On the other hand placing it after “Am Feierabend” extends that mood too long. More effective is “Erster Schmerz, letzter Scherz” before “Der liebe Farbe” and “Blümlien Vergissmein ”after “Die böse Farbe”, for the spoken poems garland the two companion songs. Gerhaher’s reading of “Blümlien Vergissmein” was lyrical, leading smoothly into “Trockne Blumen,” the poem enhancing the song.

In Winterreise the protagonist is leaving behind a relatively real world and heading into the unknown. There are far fewer clues to his psyche in the text. That’s why Winterreise is so fascinating, because the possibilities are even greater. Performers have to connect to something in themselves to create an individual approach that conveys something personal to the audience.

Those who’ve come to Gerhaher and Lieder via Wolfram in Tannhäuser will admire the clean tone and even timbre of Gerhaher’s singing. There’s plenty of scenic beauty in Winterreise, and some performances I’ve heard make much of the external-internal interface, but Gerhaher describes rather than contemplates. Individual songs like “Frühlingstraum ”are beautifully modulated. Winterreise moves in stages, and the structure of this cycle is significant. The protagonist is heading somewhere, even if we don’t know what will come of it. Is the Leiermann a symbol, and of what? Does the cycle end in death, madness or, even more controversially, of resistance? Here, we’re admiring Gerhaher’s smooth technique, so for a change, it’s up to us to be the servant of the music and what it might mean.

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):