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

Collision: Spectra Ensemble at the Arcola Theatre

‘Asteroid flyby in October: A drill for the end of the world?’ So shouted a headline in USA Today earlier this month, as journalist Doyle Rice asked, ‘Are we ready for an asteroid impact?’ in his report that in October NASA will conduct a drill to see how well its planetary defence system would work if an actual asteroid were heading straight for Earth.

Joshua Bell offers Hispanic headiness at the Proms

At the start of the 20th century, French composers seemed to be conducting a cultural love affair with Spain, an affair initiated by the Universal Exposition of 1889 where the twenty-five-year old Debussy and the fourteen-year-old Ravel had the opportunity to hear new sounds from East Asia, such as the Javanese gamelan, alongside gypsy flamenco from Granada.

John Joubert's Jane Eyre

Librettists have long mined the literature shelves for narratives that are ripe for musico-dramatic embodiment. On the whole, it’s the short stories and poems - The Turn of the Screw, Eugene Onegin or Death in Venice, for example - that best lend themselves to operatic adaptation.

Hibiki: a European premiere by Mark-Anthony Turnage at the Proms

Hibiki: sound, noise, echo, reverberation, harmony. Commissioned by the Suntory Hall in Tokyo to celebrate the Hall’s 30th anniversary in 2016, Mark-Anthony Turnage’s 50-minute Hibiki, for two female soloists, children’s chorus and large orchestra, purports to reflect on the ‘human reverberations’ of the Tohoku earthquake in 2011 and the devastation caused by the subsequent tsunami and radioactive disaster.

Through Life and Love: Louise Alder sings Strauss

Soprano Louise Alder has had an eventful few months. Declared ‘Young Singer of the Year’ at the 2017 International Opera Awards in May, the following month she won the Dame Joan Sutherland Audience Prize at the BBC Cardiff Singer of the World.

Janáček: The Diary of One Who Disappeared, Grimeborn

A great performance of Janáček’s song cycle The Diary of One Who Disappeared can be, allowing for the casting of a superb tenor, an experience on a par with Schoenberg’s Erwartung. That Shadwell Opera’s minimalist, but powerful, staging in the intimate setting of Studio 2 of the Arcola Theatre was a triumph was in no small measure to the magnificent singing of the tenor, Sam Furness.

Khovanshchina: Mussorgsky at the Proms

Remembering the centenary of the Russian Revolution, this Proms performance of Mussorgsky’s mighty Khovanshchina (all four and a quarter hours of it) exceeded all expectations on a musical level. And, while the trademark doorstop Proms opera programme duly arrived containing full text and translation, one should celebrate the fact that - finally - we had surtitles on several screens.

Santa Fe: Entertaining If Not Exactly (R)evolutionary

You know what I loved best about Santa Fe Opera’s world premiere The (R)evolution of Steve Jobs?

Longborough Young Artists in London: Gluck's Orfeo ed Euridice

For the last three years, Longborough Festival Opera’s repertoire of choice for their Young Artist Programme productions has been Baroque opera seria, more specifically Handel, with last year’s Alcina succeeding Rinaldo in 2014 and Xerxes in 2015.

A Master Baritone in Recital: Sesto Bruscantini, 1981

This is the only disc ever devoted to the art of Sesto Bruscantini (1919–2003). Record collectors value his performance of major baritone roles, especially comic but also serious ones, on many complete opera recordings, such as Il barbiere di Siviglia (with Victoria de los Angeles). He continued to perform at major houses until at least 1985 and even recorded Mozart's Don Alfonso in 1991, when he was 72.

Emalie Savoy: A Portrait

Since 1952, the ARD—the organization of German radio stations—has run an annual competition for young musicians. Winners have included Jessye Norman, Maurice André, Heinz Holliger, and Mitsuko Uchida. Starting in 2015, the CD firm GENUIN has offered, as a separate award, the chance for one of the prize winners to make a CD that can serve as a kind of calling card to the larger musical and music-loving world. In 2016, the second such CD award was given to the Aris Quartett (second-prize winner in the “string quartet” category).

Full-throated Cockerel at Santa Fe

A tale of a lazy, befuddled world leader that ‘has no clothes on’ and his two dimwit sons, hmmmm, what does that remind me of. . .?

Santa Fe’s Trippy Handel

If you don’t like a given moment in Santa Fe Opera’s staging of Alcina, well, just like the volatile mountain weather, wait two minutes and it will surely change.

Santa Fe’s Crowd-Pleasing Strauss

With Die Fledermaus’ thrice familiar overture still lingering in our ears, it didn’t take long for the assault of hijinks to reduce the audience into guffaws of delight.

Santa Fe: Mad for Lucia

If there is any practitioner currently singing the punishing title role of Lucia di Lammermoor better than Brenda Rae, I am hard-pressed to name her.

Janáček's The Cunning Little Vixen at Grimeborn

Janáček’s The Cunning Little Vixen can be a difficult opera to stage, despite its charm and simplicity. In part it is a good, old-fashioned morality tale about the relationships between humans and animals, and between themselves, but Janáček doesn’t use a sledgehammer to make this point. It is easy for many productions to fall into parody, and many have done, and it is a tribute to The Opera Company’s staging of this work at the Arcola Theatre that they narrowly avoided this pitfall.

Handel's Israel in Egypt at the Proms: William Christie and the OAE

For all its extreme popularity with choirs, Handel’s oratorio Israel in Egypt is a somewhat problematic work; the scarcity of solos makes hiring professional soloists an extravagant expense, and the standard version of the work starts oddly with a tenor recitative. If we return to the work's history then these issues are put into context, and this is what William Christie did for the performance of Handel’s Israel in Egypt at the BBC Proms at the Royal Albert Hall on Tuesday 1 August 2017.

Sirens and Scheherazade: Prom 18

From Monteverdi’s Il ritorno d'Ulisse in patria, to Bruch’s choral-orchestral Odysseus, to Fauré’s Penelope, countless compositions have taken their inspiration from Homer’s Odyssey, perhaps not surprisingly given Homer’s emphasis on the power of music in the Greek world.

Discovering Gounod’s Cinq Mars: Another Rarity Success for Oper Leipzig

Oper Leipzig usually receives less international attention than its Dresden, Munich or Berlin counterparts; however, with its fabulous Gewandhaus Orchestra, and its penchant for opera rarities (and a new Ring Cycle), this quality hotspot will be attracting more and more opera lovers. Leipzig’s new production of Gounod’s Cinq Mars continues this high quality tradition.

Detlev Glanert : Requiem for Hieronymus Bosch

Detlev Glanert's Requiem for Hieronymus Bosch should be a huge hit. Just as Carl Orff's Carmina Burana appeals to audiences who don't listen to early music (or even to much classical music), Glanert's Requiem for Hieronymus Bosch has all the elements for instant popular success.

OPERA TODAY ARCHIVES »

Reviews

Bernarda Fink [Photo by Klemen Breitfuss courtesy of machreich artists management gmbh]
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.

Wigmore Hall Dvořák Series — Dvořák, Brahms, and Slovenian Songs

Bernarda Fink, mezzo-soprano; Roger Vignoles, piano. Wigmore Hall, London, 13th April 2012.

Above: Bernarda Fink [Photo by Klemen Breitfuss courtesy of machreich artists management gmbh]

 

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.

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):