21 Sep 2011
Schiller: Ein Leben in Liedern, Wigmore Hall
While the music industry seems to be spiralling dementedly downmarket, the Wigmore Hall keeps standards extremely high.
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.
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.
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.
Richard Strauss may be most closely associated with the soprano voice but this recording of a selection of the composer’s lieder by baritone Thomas Hampson is a welcome reminder that the rapt lyricism of Strauss’s settings can be rendered with equal beauty and character by the low male voice.
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.
It is not often that concept, mood, music and place coincide perfectly. On the first night of Opera della Luna’s La Fille du Regiment at Iford Opera in Wiltshire, England we arrived with doubts (rather large doubts it should be admitted)as to whether Donizetti’s “naive and vulgar” romp of militarism and proto-feminism, peopled with hordes of gun-toting soldiers and praying peasants, could hardly be contained, surely, inside Iford’s tiny cloister?
‘Lovers and madmen have such seething brains,/ Such shaping fantasies, that apprehend/ More than cool reason ever comprehends.’
While the music industry seems to be spiralling dementedly downmarket, the Wigmore Hall keeps standards extremely high.
This Opening Concert of the 2011/2 season was devoted to songs to texts by Friedrich von Schiller.
Goethe gets more musical settings more than any other poet because his idiom lends itself naturally to song. Schiller, on the other hand, wrote texts that read well on the page but don’t necessarily “sing”.
This concert, “Friedrich von Schiller — Ein Leben in Liedern”, was organized on very short notice. Soile Isokoski had originally been scheduled to sing and to judge the Wigmore Hall International Song Competition, but she was indisposed. The programme was very far from Isokoski’s usual repertoire, but so well put together that it was satisfying compensation. It bears the hallmark of Graham Johnson, whose experience in designing good programmes is legendary.
Johnson’s knowledge of this repertoire is equalled by few (Richard Stokes and Richard Wigmore are in this league too). Go to the Hyperion Records website and read Johnson’s programme notes for the 37 disc set of Schubert songs. This is what programme note writing should be, stimulating an erudite audience like that at the Wigmore Hall. Indeed, audiences completely new to the genre are even more badly served by superficial, clichéd work, devoid of the analysis and contextual connections that make programme notes worth reading in the first place. The Wigmore Hall gives medals for services to Lieder. Why not Graham Johnson?
How daring to place not one but several long strophic ballads together! Schiller’s poetry isn’t often lyrical in the way that Goethe’s is, so musical settings tend towards declamatory and need to be livened up by good performance or they can descend into dull. Luckily many good singers rise to the challenge. Fischer-Dieskau, Matthias Goerne, Wolfgang Holzmair and Christoph Prégardien had/have them in their repertoire. There were two stunning Die Bürgschaft D246 at the Wigmore Hall (Holzmair and Prégardien) a while back, about a year apart, both performed so vividly the whole song became a dramatic monologue. Quite an achievement for a 20 minute song where the “characters” as such are fairly stylized Classical Heroes.
Fortunately Christopher Maltman has these songs in his repertoire too and has worked so often with Graham Johnson. These Schiller songs suit Maltman’s voice and style, for they benefit from rich-toned gravitas. In Der Kampf D594 Maltman declaims dramatically, so the song sounds like a vignette from a much larger theatrical piece. Very Schiller, more unusual for Schubert. Maltman carefully negotiates the tricky “Bewundert still mein heldenmütiges Entsagen, und grossmutvoll beschliesst sie meinen Lohn ”. If strain appears later in the next strophe, Maltman had already earned his reward.
Tellingly, Johnson quotes Carlyle in his programme notes. Schiller, said Thomas Carlyle, was “too elevated, too regular and sustained in his elevation to be altogether natural”. Hence Johnson adds a few songs which lend themselves to earthly lyricism. An den Frühling (D587), Das Geheimnis (D793) and Dithyrambe (D801) bring out the gentler Schiller, and give Maltman a chance to exercise softer, warmer colours. These more “Schubertian” songs allow Johnson to play with great, expressive verve.
Schumann set very little Schiller, but it was interesting that Johnson included Schumann’s Der Handschuh op 87 (1850). This is interesting because it dates from the period when Schumann was experimenting with theatrical music, like Genoveva op 81 and Scenes from Goethe’s Faust(WoO 3). Schiller’s poem presents a scene of striking dramatic possibilities. Like a Roman Emperor, King Francis 1 is entertaining his court to a gory spectacle where lions, tigers and leopards rip each other apart. A lady drops her glove into the fray to taunt her lover. He gets the glove back but realizes what the lady really is like, and leaves her. The drama is in the situation, rather than in the personalities, so Schumann sets it as a decorative story, which Maltman and Johnson tell without too much savagery.
An interesting sub-theme flows through this programme: the unsentimental breaking of bonds. The protagonist in Der Kampf has pledged to some heinous crime by the one he loves. The hero in Der Handschuh learns that his lover wants him dead. In Die Bürgschaft, a man called Moro tries to assassinate the king although he’s due to marry his sister off the following day, Oddly enough the King lets him go home, but Moro’s friend must be crucified if Moro doesn’t come back in time. Cue for glorious dramatic effects in the text, storms, floods, brigands, all of which Moro defeats, arriving just as his friend is about to die. Even more oddly, the king decides that all three should henceforth be friends. Will Moros suddenly embrace the tyrant? Why schedule an assasination with a wedding? Logic doesn’t count in melodrama. This time, “meaning” in Lieder means meta-meaning, so as long as twenty steady strophes are delivered with panache, the ballad works.
All this summer, we’ve had Proms, operas and orchestral performances influenced by Alpine imagery and the freedom and danger mountains evoke. Our debt to Schiller’s Wilhelm Tell is far reaching. Johnson and Maltman performed Schumann’s Des Buben Schützenlied together with three settings by Franz Liszt, Der Fischerknabe, Der Hirt and Der Alpenjäger. Johnson makes a good point about Schiller’s political views and Schubert’s friend Johann Senn who was exiled from Vienna. The Metternich police state had no hold on Schumann and Liszt (or on Rossini or Catalani), so they can indulge in songs of lyrical grace, untroubled by the darker side of what Tell symbolized. At times the tessitura is high for Maltman (“im Paradies” in Der Fischerknabe) but this enhanced to the sense of danger that runs through Schiller’s play. Johnson played so evocatively in the Liszt songs that at times I thought of Edvard Grieg.