Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

First Night of the BBC Proms : Elgar The Kingdom

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.

Le nozze di Figaro, Munich

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.

James Gilchrist at Wigmore Hall

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: Improvisations on Henry Purcell

‘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.

Nabucco at Orange

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: Notturno

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.

Saint Louis: A Hit is a Hit is a Hit

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.

La Flûte Enchantée (2e Acte)
at the Aix Festival

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.

Ariodante at the Aix Festival

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.

Lucy Crowe, Wigmore Hall

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.

The Turn of the Screw, Holland Park

‘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.

Plenty of Va-Va-Vroom: La Fille du Regiment, Iford

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?

La finta giardiniera, Glyndebourne

‘Lovers and madmen have such seething brains,/ Such shaping fantasies, that apprehend/ More than cool reason ever comprehends.’

Sophie Karthäuser, Wigmore Hall

Belgian soprano Sophie Karthäuser has a rich range of vocal resources upon which to draw: she has power and also precision; her top is bright and glinting and it is complemented by a surprisingly full and rich lower register; she can charm with a flowing lyrical line, but is also willing to take musical risks to convey emotion and embody character.

Ariadne auf Naxos, Royal Opera

‘When two men like us set out to produce a “trifle”, it has to become a very serious trifle’, wrote Hofmannsthal to Strauss during the gestation of their opera about opera.

Leoš Janáček : The Cunning Little Vixen, Garsington Opera at Wormsley

Janáček started The Cunning Little Vixen on the cusp of old age in 1922 and there is something deeply elegiac about it.

La Traviata in Marseille

It took only a couple of years for Il trovatore and Rigoletto to make it from Italy to the Opéra de Marseille, but it took La traviata (Venice, 1853) sixteen years (Marseille, 1869).

Madama Butterfly in San Francisco

Gesamtkunstwerk, synthesis of fable, sound, shape and color in art, may have been made famous by Richard Wagner, and perhaps never more perfectly realized than just now by San Francisco Opera.

Luca Francesconi : Quartett, Linbury Studio Theatre, London

Luca Francesconi is well-respected in the avant garde. His music has been championed by the Arditti Quartett and features regularly in new music festivals. His opera Quartett has at last reached London after well-received performances in Milan and Amsterdam.

Puccini Manon Lescaut, Royal Opera House, London

Manon Lescaut at the Royal Opera House, London, brings out the humanity which lies beneath Puccini's music. The composer was drawn to what we'd now called "outsiders. In Manon Lescaut, Puccini describes his anti-heroine with unsentimental honesty. His lush harmonies describe the way she abandons herself to luxury, but he doesn't lose sight of the moral toughness at the heart of Abbé Prévost's story, Manon is sensual but, like her brother, fatally obssessed with material things. Only when she has lost everything else does she find true values through love..

OPERA TODAY ARCHIVES »

Reviews

Friedrich Schiller (1793/94) by Ludovike Simanowiz [Source: Wikipedia]
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.

Freidrich von Schiller: Ein Leben in Liedern — Settings by Schubert, Schumann and Liszt

Christopher Maltman, baritone; Graham Johnson, piano. Wigmore Hall, London, 10th September 2011

Above: Friedrich Schiller (1793/94) by Ludovike Simanowiz [Source: Wikipedia]

 

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.

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):