26 Sep 2011
Christian Gerhaher, Wigmore Hall
Christian Gerhaher and Gerold Huber presented Schubert’s song cycles at the Wigmore Hall, London.
Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
A historical afternoon at the NTR Saturday Matinee occurred with an epic concert version of Prokofiev’s Soviet Opera Semyon Kotko.
Opening night at the Metropolitan is a gleeful occasion even when the composer is long gone, but December 1st was an opening for a living composer who has been making waves around the world and is, gasp, a woman — the second woman composer ever to have an opera presented at the Met.
The Feast at Solhaug : Henrik Ibsen's play Gildet paa Solhaug (1856) inspired Wilhelm Stenhammer's opera Gillet på Solhaug. The world premiere recording is now available via Sterling CD, in a 3 disc set which includes full libretto and background history.
For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.
As the German language describes so beautifully, a “Schrei aus tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra from the depths of her soul.
Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement, but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment “is the biggest news in the conducting world.” But Ms. Mirga Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.
You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
Honours yet again to Oehms Classics who understand the importance of excellence. A composer as good, and as individual, as Walter Braunfels deserves nothing less.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
Christian Gerhaher and Gerold Huber presented Schubert’s song cycles at the Wigmore Hall, London.
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.