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

Garsington Opera transfers Falstaff from Elizabeth pomp to Edwardian pompousness

Bruno Ravella’s new production of Verdi's Falstaff for Garsington Opera eschews Elizabethan pomp in favour of Edwardian pompousness, and in so doing places incipient, insurgent feminism and the eternal class consciousness of fin de siècle English polite society centre stage.

Mascagni's Isabeau at Opera Holland Park: in conversation with David Butt Philip

Opera directors are used to thinking their way out of theatrical, dramaturgical and musico-dramatic conundrums, but one of the more unusual challenges must be how to stage the spectacle of a young princess’s naked horseback-ride through the streets of a city.

Grange Park Opera travels to America

The Italian censors forced Giuseppe Verdi and his librettist Antonio Somma to relocate their operatic drama of the murder of the Swedish King Gustav III to Boston, demote the monarch to state governor and rename him Riccardo, and for their production of Un ballo in maschera at Grange Park Opera, director Stephen Medcalf and designer Jamie Vartan have left the ‘ruler’ in his censorial exile.

Puccini’s La bohème at The Royal Opera House

When I reviewed Covent Garden’s Tosca back in January, I came very close to suggesting that we might be entering a period of crisis in casting the great Puccini operas. Fast forward six months, and what a world of difference!

Na’ama Zisser's Mamzer Bastard (world premiere)

Let me begin, like an undergraduate unsure quite what to say at the beginning of an essay: there were many reasons to admire the first performance of Na’ama Zisser’s opera, Mamzer Bastard, a co-commission from the Royal Opera and the Guildhall.

Les Arts Florissants : An English Garden, Barbican London

At the Barbican, London, Les Arts Florissants conducted by Paul Agnew, with soloists of Le Jardin de Voix in "An English Garden" a semi-staged programme of English baroque.

Die Walküre in San Francisco

The hero Siegfried in utero, Siegmund dead, Wotan humiliated, Brünnhilde asleep, San Francisco’s Ring ripped relentlessly into the shredded emotional lives of its gods and mortals. Conductor Donald Runnicles laid bare Richard Wagner’s score in its most heroic and in its most personal revelations, in their intimacy and in their exploding release.

Das Rheingold in San Francisco

Alberich’s ring forged, the gods moved into Valhalla, Loge’s Bic flicked, Wagner’s cumbersome nineteenth century mythology began unfolding last night here in Bayreuth-by-the-Bay.

ENO's Acis and Galatea at Lilian Baylis House

The shepherds and nymphs are at play! It’s end-of-the-year office-party time in Elysium. The bean-bags, balloons and banners - ‘Work Hard, Play Harder’ - invite the weary workers of Mountain Media to let their hair down, and enter the ‘Groves of Delights and Crystal Fountains’.

Lohengrin at the Royal Opera House

Since returning to London in January, I have been heartened by much of what I have seen - and indeed heard - from the Royal Opera.

Stéphane Degout and Simon Lepper

Another wonderful Wigmore song recital: this time from Stéphane Degout – recently shining in George Benjamin's new operatic masterpiece,

An excellent La finta semplice from Classical Opera

‘How beautiful it is to love! But even more beautiful is freedom!’ The opening lines of the libretto of Mozart’s La finta semplice are as contradictory as the unfolding tale is ridiculous. Either that master of comedy, Carlo Goldoni, was having an off-day when he penned the text - which was performed during the Carnival of 1764 in the Teatro Giustiniani di S. Moisè in Venice with music by Salvatore Perillo - or Marco Coltellini, the poeta cesareo who was entertaining the Viennese aristocracy in 1768, took unfortunate liberties with poetry and plot.

Pan-European Orpheus : Julian Prégardien

"Orpheus I am!" - An unusual but very well chosen collection of songs, arias and madrigals from the 17th century, featuring Julian Prégardien and Teatro del mondo. Devised by Andreas Küppers, this collection crosses boundaries demonstrating how Italian, German, French and English contemporaries responded to the legend of Orpheus and Eurydice.

Whatever Love Is: The Prince Consort at Wigmore Hall

‘We love singing songs, telling stories …’ profess The Prince Consort on their website, and this carefully curated programme at Wigmore Hall perfectly embodied this passion, as Artistic Director and pianist Alisdair Hogarth was joined by tenor Andrew Staples (the Consort’s Creative Director), Verity Wingate (soprano) and poet Laura Mucha to reflect on ‘whatever love is’.

Bryn Terfel's magnetic Mephisto in Amsterdam

It had been a while since Bryn Terfel sang a complete opera role in Amsterdam. Back in 2002 his larger-than-life Doctor Dulcamara hijacked the stage of what was then De Nederlandse Opera, now Dutch National Opera.

Laci Boldemann’s Opera Black Is White, Said the Emperor

We normally think of operas as being serious or comical. But a number of operas-some familiar, others forgotten-are neither of these. Instead, they are fantastical, dealing with such things as the fairy world and sorcerers, or with the world of dreams.

A volcanic Elektra by the Netherlands Radio Philharmonic

“There are no gods in heaven!” sings Elektra just before her brother Orest kills their mother. In the Greek plays about the cursed House of Atreus the Olympian gods command the banished Orestes to return home and avenge his father Agamemnon’s murder at the hands of his wife Clytemnestra. He dispatches both her and her lover Aegisthus.

Così fan tutte: Opera Holland Park

Absence makes the heart grow fonder; or does it? In Così fan tutte, who knows? Or rather, what could such a question even mean?

The poignancy of triviality: Garsington Opera's Capriccio

“Wort oder Ton?” asks Richard Strauss’s final opera, Capriccio. The Countess answers with a question of her own, at the close of this self-consciously self-reflective Konversationstück für Musik: “Gibt es einen, der nicht trivail ist?” (“Is there any ending that isn’t trivial?”)

Netia Jones' new Die Zauberflöte opens Garsington Opera's 2018 season

“These portals, these columns prove/that wisdom, industry and art reside here.” So says Tamino, as he gazes up at the three imposing doors in the centre of Netia Jones’ replica of the 18th-century Wormsley Park House - in the grounds of which Garsington Opera’s ‘floating’ Pavilion makes its home each summer.

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):