19 Apr 2012
Folk songs that aren’t folk songs
The Wigmore Hall Dvořák series culminated in a concert by Bernarda Fink and Roger Vignoles.
‘A caprice written with the point of a needle’: so Berlioz described his opera Béatrice and Bénédict, which pares down Shakespeare’s Much Ado About Nothing to its comic quintessence, shorn of the sub-plots, destroyed reputations and near-bloodshed of Shakespeare’s original.
‘This is the way the world ends. Not with a bang but a whimper.’ It is, perhaps, a line quoted too often; yet, even though it may not have been entirely accurate on this occasion, it came to my mind. Its accuracy might be questioned in several respects.
Central City Opera celebrated the 60th anniversary of The Ballad of Baby Doe with a hip, canny, multi-faceted new production.
Someone forgot to tell Central City Opera that it would be difficult to fit Puccini’s (usually) architecturally large Tosca on their small stage.
A cast worthy of Bayreuth made for an unforgettable Wagnerian experience at the Sommer Festspiele in Baden-Baden.
Loving attention to the highest quality was everywhere evident in Des Moines Metro Opera’s Manon.
Des Moines Metro Opera had (almost) all the laughs in the right places, and certainly had all the right singers in these meaty roles to make for an enjoyable outing with Verdi’s masterpiece
With the thermometers reaching boiling point, there’s no doubt that summer has finally arrived in London. But, the sun seems to have been shining over the large marquee in Holland Park all summer.
J.S. Bach’s cerebral Art of the Fugue in Aix, Verdi’s massive Requiem in Orange, Ibn al-Muqaffa’ ‘s fable of the camel, jackal, wolf and crow, Sophocles’ blind Oedipus Rex and the Bible’s triumphant Psalm No. 150 in Aix.
The champagne corks popped at the close of this year’s Jette Parker Young Artists Summer Performance at the Royal Opera House, with Prince Orlofsky’s celebratory toast forming a fitting conclusion to some superb singing.
Bryn Terfel is making a habit of performing Russian patriarchs at the Proms.
What happens when just everything about an operatic performance goes joyously right?
Two years ago, the well-established Des Moines Metro Opera experimented with a 2nd Stages program, with performances programmed outside of their home stage at Simpson College.
What to make of the unannounced decision to open this concert with the Marseillaise? I am sure it was well intended, and perhaps should leave it at that.
In a fairy-tale, it can sometimes feel as if one is living a dream but on the verge of being awoken to a shock. Such is life in these dark and uncertain days.
The tense, three hour knock-down-drag-out seduction of Beauty by Pleasure consumed our souls in this triumphal evening. Forget Time and Disillusion as destructors, they were the very constructors of the beauty and pleasure found in this miniature oratorio.
Three parallel universes (before losing count) — the ephemeral Debussy/Maeterlinck masterpiece, the Debussy symphonic tone poem, and the twisted intricacies of a moldy, parochially English country estate.
This, alas, was where I had to sign off. A weekend conference on Parsifal (including, on the Saturday, a showing of Hans-Jürgen Syberberg’s Parsifal film) mean that I missed Götterdämmerung, skipping straight to the sequel.
The culmination of Opera North’s “Ring for Everyone”, this Götterdämmerung showed the power of the condensed movement so necessary in a staged performance - each gesture of each character was perfectly judged - as well as the visceral power of having Wagner’s huge orchestra on stage as opposed to the pit.
Michael Grandage's production of Mozart's Le nozze di Figaro, which was new in 2012, returned to Glyndebourne on 3 July 2016 revived by Ian Rutherford.
The Wigmore Hall Dvořák series culminated in a concert by Bernarda Fink and Roger Vignoles.
Fink is the foremost Dvořák mezzo around. Her recordings (some with Roger Vignoles) are benchmarks. So it was a surprise that the Wigmore Hall wasn’t packed out. Maybe it was the Friday 13th factor, maybe it was Easter when people are out of London. Perhaps, ironically, it was the simple fact that Fink’s Dvořák and Brahms are so well known; audiences forget how live performance is nothing like recording. Fink is a natural recitalist (not all singers are, even if they’re good). She smiled graciously and sang as if she was singing for a private gathering of friends. That’s aplomb! Dvořák and Brahms songs aren’t meant for flashy display. Bernarda Fink makes them feel personal, as natural as one-to-one conversation.
The recital was preceded by a talk by Professor Jan Smaczny. Talks and programme notes these days are often inept filler, but Smaczny is in an altogether different league. He’s a genuine scholar with first hand, original knowledge. He speaks about Dvořák’s manuscripts with the authority of someone who knows them well. “Dvořák used them like a diary, noting daily events in the margins”. Many Czech specialists don’t communicate well in English, so our perceptions are shaped by anglocentrism. Smaczny understands the context of Czech culture and Dvořák’s part in the evolution of Czech music. We don’t hear Smaczny often enough in London but should. This is the sort of quality the Wigmore Hall should embrace.
Dvořák’s orchestral music is permeated by his affinity for song. As Smaczny says, songs “were pivotal to his developing musical style, and frequently gave notice of important changes of direction in his expressive language”. Thius it was good to hear Fink and Vignoles start with Dvořák’s Six Songs From the Queen’s Court Manuscript op 7 (1872). The texts were based on what were believed to be authentic medieval sources, but were modern invention. No matter, for they inspired awareness of Czech national identity. The poems are pastoral, like imitation folk song. Gentle, rolling piano creating a pleasant background to the sharp sibilants in the words. The warmth in Fink’s voice complements the images of summer and youth, yet she catches the undertones of sorrow. Sensucht, one might say if the songs were German.
Yet in the last song, “Jahody” (Strawberries) Dvořák becomes much more adventurous. Fink captures the strange unresolved tension in the first strophe. A girl has been gathering strawberries but a thorn has cut her foot and it’s infected. She can’t walk and her lover is angry. The piano part describes his impatience and the sound of his horse galloping off, taking the lovers to another place where they snatch a few moments of love, before dashing home again. With its sudden changes of pace and mood, the song is unsettling, almost a miniature opera. Fink expresses the urgency and fear that makes the song dramatic, without overdoing the “voices” or excess histrionics.
Brahms’s Deutsche Volkslieder (publ 1894), are similarly art song masquerading as folk song, so Fink and Vignoles performed four songs, a sample of Brahms’s two large collections of Volkslieder that aren’t actually Volkslieder. Mature Brahms and early Dvořák don’t really compare, but Fink and Vignoles followed these with five of the ten Dvořák Biblical Songs from op 99 (1894) (no.s 1, 2, 3, 8 and 10) to even the score. One instinctively thinks of Brahms’s Vier ernste Gesänge (op 121 1897) which of course was written for low baritone, That’s an idea, programme them together with different singers.
Bernarda Fink has made Dvořák Five Biblical Songs one of her trademarks. She sang it at the high profile Dvořák anniversary concert in Prague Castle in 1991. (read more here and listen to a clip). She’s sung these songs many times at the Wigmore Hall, so if her performance on this occasion wasn’t as compelling as usual, it evoked many good memories.
It was good to hear how Slovenian contemporaries of Brahms and Dvořák approached song in their own language. From what we heard this evening, Benjmin Ipavec (1829-1908) and Anton Lajovic (1878-1960) wrote pleasant though undistinguished Biedermeyer. Lucilan Škerjanc (1900-1973) though, is more cosmopiltan and original. In “Evening Impression”, Fink’s sensitive phrasing and upward soaring lines created emotion and shape. The poem, by Igo Gruden is lovely, even in translation. Fink and Vignoles make a case for it as mainstream repertoire. To hear more, there’s a recording by Fink and her brother Marcos ( a bass baritone), both native speakers, on Harmonia Mundi.
Fink and Vignoles performed another set of Brahms songs, including the wonderful Von ewiger Liebe (op 43/1 1894) before returning to Dvořák In Folk tone (op 73, 1886). Perhaps Fink had been waiting for them, since her singing now moved from attractive to truly inspired. These songs are sophisticated in the best sense. Moods change swiftly, hinting at submerged meaning, tantalizing the listener. Fink’s keening legato gave the first song, a lullaby, a searching edge that made one realize it wasn’t about a baby. The piano part, too, is unashamedly sensual. In the second song, a girl is scything and sees her forner lover. The piano sounds bright and optimistic, but the vocal part breaks into strident staccato “Šuhaj, šuhaj z druhej strany”. She taunts him fiercely, but inside her heart is breaking. Fink repeats the final line “už si v mojom srdci riastla” wistfully, with great tenderness. Simiarly, the lilting piano in the third song sounds happy, but the firm deliberation in Fink’s voice suggests that this steel has been forged through fire. More defiance still, in the final song where the piano prances like the swift pony. Fink’s voice dances along too, but Dvořák uses the sharp Czech sibilants to suggest the “arrow” which cuts through the lover’s heart.