Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Eugene Onegin at Seattle

Passion! Pain! Poetry! (but hold the irony . . .)

Pow! Zap! Zowie! Wowie! -or- Arthur, King of Long Beach

If you might have thought a late 17thcentury semi-opera about a somewhat precious fairy tale monarch might not be your cup of twee, Long Beach Opera cogently challenges you to think again.

Philippe Jaroussky and Jérôme Ducros perform Schubert at Wigmore Hall

How do you like your Schubert? Let me count the ways …

Crebassa and Say: Impressionism and Power at Wigmore Hall

On paper this seemed a fascinating recital, but as I was traveling to the Wigmore Hall it occurred to me this might be a clash of two great artists. Both Marianne Crebassa and Fazil Say can be mercurial performers and both can bring such unique creativity to what they do one thought they might simply diverge. In the event, what happened was quite remarkable.

'Songs of Longing and Exile': Stile Antico at LSO St Luke's

Baroque at the Edge describes itself as the ‘no rules’ Baroque festival. It invites ‘leading musicians from all backgrounds to take the music of the Baroque and see where it leads them’.

Richard Jones' La bohème returns to Covent Garden

Richard Jones' production of Puccini's La bohème is back at the Royal Opera House, Covent Garden after its debut in 2017/18. The opening night, 10th January 2020, featured the first of two casts though soprano Sonya Yoncheva, who was due to sing Mimì, had to drop out owing to illness, and was replaced at short notice by Simona Mihai who had sung the role in the original run and is due to sing Musetta later in this run.

Don Giovanni at Lyric Opera of Chicago

Mozart’s Don Giovanni returned to Lyric Opera of Chicago in the Robert Falls updating of the opera to the 1930s. The universality of Mozart’s score proves its adaptability to manifold settings, and this production featured several outstanding, individual performances.

Britten and Dowland: lutes, losses and laments at Wigmore Hall

'Of chord and cassiawood is the lute compounded;/ Within it lie ancient melodies'.

Tara Erraught sings Loewe, Mahler and Hamilton Harty at Wigmore Hall

During those ‘in-between’ days following Christmas and before New Year, the capital’s cultural institutions continue to offer fare both festive and more formal.

Prayer of the Heart: Gesualdo Six and the Brodsky Quartet

Robust carol-singing, reindeer-related muzak tinkling through department stores, and light-hearted festive-fare offered by the nation’s choral societies may dominate the musical agenda during the month of December, but at Kings Place on Friday evening Gesualdo Six and the Brodsky Quartet eschewed babes-in-mangers and ding-donging carillons for an altogether more sedate and spiritual ninety minutes of reflection and ‘musical prayer’.

The New Season at the New National Theatre, Tokyo

Professional opera in Japan is roughly a century old. When the Italian director and choreographer Giovanni Vittorio Rosi (1867-1940) mounted a production of Cavalleria Rusticana in Italian in Tokyo in 1917, with Japanese singers, he brought a period of timid experimentation and occasional student performances to an end.

Handel's Messiah at the Royal Albert Hall

For those of us who live in a metropolitan bubble, where performances of Handel's Messiah by small professional ensembles are common, it is easy to forget that for many people, Handel's masterpiece remains a large-scale choral work. My own experiences of Messiah include singing the work in a choir of 150 at the Royal Albert Hall, and the venue's tradition of performing the work annually dates back to the 19th century.

What to Make of Tosca at La Scala

La Scala’s season opened last week with Tosca. This was perhaps the preeminent event in Italian cultural and social life: paparazzi swarmed politicians, industrialists, celebrities and personalities, while almost three million Italians watched a live broadcast on RAI 1. Milan was still buzzing nine days later, when I attended the third performance of the run.

La traviata at Covent Garden: Bassenz’s triumphant Violetta in Eyre’s timeless production

There is a very good reason why Covent Garden has stuck with Richard Eyre’s 25-year old production of La traviata. Like Zeffirelli’s Tosca, it comes across as timeless whilst being precisely of its time; a quarter of a century has hardly faded its allure, nor dented its narrative clarity. All it really needs is a Violetta to sweep us off our feet, and that we got with Hrachuhi Bassenz.

'Aspects of Love': Jakub Józef Orliński at Wigmore Hall

Boretti, Predieri, Conti, Matteis, Orlandini, Mattheson: masters of the Baroque? Yes, if this recital by Polish countertenor Jakub Józef Orliński is anything by which to judge.

Otello at Covent Garden: superb singing defies Warner’s uneven production

I have seen productions of Verdi’s Otello which have been revolutionary, even subversive. I have now seen one which is the complete antithesis of that.

Solomon’s Knot: Charpentier - A Christmas Oratorio

When Marc-Antoine Charpentier returned from Rome to Paris in 1669 or 1670, he found a musical culture in his native city that was beginning to reject the Italian style, which he had spent several years studying with the Jesuit composer Giacomo Carissimi, in favour of a new national style of music.

A Baroque Odyssey: 40 Years of Les Arts Florissants

In 1979, the Franco-American harpsichordist and conductor, William Christie, founded an early music ensemble, naming it Les Arts Florissants, after a short opera by Marc-Antoine Charpentier.

Miracle on Ninth Avenue

Gian Carlo Menotti’s holiday classic, Amahl and the Night Visitors, was the first recorded opera I ever heard. Each Christmas Eve, while decorating the tree, our family sang along with the (still unmatched) original cast version. We knew the recording by heart, right down to the nicks in the LP. Ever since, no matter what the setting or the quality of a performance, I cannot get through it without tearing up.

Detlev Glanert: Requiem for Hieronymus Bosch (UK premiere)

It is perhaps not surprising that the Hamburg-born composer Detlev Glanert should count Hans Werner Henze as one of the formative influences on his work - he did, after all, study with him between 1984 to 1988.

OPERA TODAY ARCHIVES »

Performances

Bernarda Fink [Photo © Julia Wesely]
11 Feb 2013

Bernarda Fink Residency, Wigmore Hall

For the first of her two February recitals at the Wigmore Hall, the Argentinean mezzo-soprano Bernarda Fink was joined by the Hugo Wolf Quartett in an eclectic, Italian-themed programme in which singer and instrumentalists sculpted diverse and beautiful musical vistas and communicated a remarkably coherent, shared vision.

Bernarda Fink Residency, Wigmore Hall

A review by Claire Seymour

Above: Bernarda Fink [Photo © Julia Wesely]

 

Ottorino Respighi’s Il tramonto (1914) for voice and string quartet is a setting of Percy Bysshe Shelley’s poem ‘The Sunset’, as translated by Roberto Ascoli, and describes a lovers’ moonlit walk and the woman’s subsequent life of endless mourning following the sudden death of her beloved. Fink wove flexibly between song, arioso and recitative recounting an engaging, touching narrative, the text clearly declaimed. While the accompaniment texture is impressionistic and at times quite sparse, there is yet a remarkable contrapuntal dynamism in the string lines, which the clean, crisp playing of the Hugo Wolf Quartett brought to the fore.

The performers adeptly conveyed the quiet intimacy of the work. After a theatrical string opening, a calm, lyrical episode describes one who ‘within whose subtle being […] Genius and death contended’; here Fink’s soprano was pure, light and floating, in keeping with the simplicity of the narrative and the ‘sweetness of the joy’ experienced, before swelling warmly to convey the passion felt by the lover for ‘the lady of his love’. There was a poignant weariness in the delicate arioso when the waking woman finds her lover dead. In contrast, Fink employed a warm melodious timbre to convey the feminine selflessness of the grieving woman, ‘Her gentleness and patience and sad smiles’.

Throughout, singer and quartet were fully integrated in narration and mood-painting. There was some superb playing from cellist Florian Berner, his opulently etched lines providing harmonic direction and structural cohesion, particularly in the section depicting the glories of the natural world and the hues of the sunset — ‘lines of gold/ Hung on the ashen cloud […] mingled with the shades of twilight’ — in which the players achieved an admirable motivic clarity. After depicting a life of self-denial and duty — a ‘kind of madness’ — Fink expressively announced the woman’s final appeal for peace, the beautiful violin solo with which the work closes tenderly reinforcing the mood of bitter-sweet desolation.

Il Tramonto was preceded by an original, and surprisingly repressed and intense, reading of Robert Schumann’s String Quartet in A Op.41 No.3. In his three Op.41 quartets, the composer turned from the narrative approach of his earlier orchestral works and sought inspiration from the classical masterpieces of Haydn, Mozart and Beethoven, and the Hugo Wolf Quartett were certainly concerned to create a sharply defined motivic texture, sometimes perhaps at the expense of fulsomeness of tone.

Their delicate, careful approach was, however, perfectly suited to the subtleties of the opening movement. Following a pensive introduction in which the principal motive — the sighing fall of a perfect fifth — was clearly engraved, the players established an elegant grazioso ambience, the transparency revealing the Beethovian density of Schumann’s motivic method and the intricacy of the rhythmic structures. The dislocated complexities of the main theme — in which the seemingly misaligned legato cello line juxtaposed with off-beat interjections from the other players — were wonderfully controlled.

The urgent, restless syncopations of the second movement, a theme and variations, culminated in a serene conclusion in the relative major mode, leading to a profound reading of the Adagio, in which the instrumentalists allowed themselves to indulge their more rhapsodic leanings, relishing the beautiful, song-like theme, and making much of the sudden and disturbing interruption of the repeated, march-like fragment which intrudes the relaxed lyricism.

The vigorous finale might have been even more boisterous, for Schumann’s robust, buoyant rhythms have a startling kinetic dynamism, but the four players effectively controlled the architectural arches of the rondo form, concluding with an extravagant coda.

After the interval, the focus was on Hugo Wolf’s musical response to the warm Italian South: ten songs from the Italienisches Liederbuch and the delightful Intermezzo. The latter — a rondo with richly diverse episodes and restatements — is quite radical in the way that the luscious opening melody is repeated interrupted by harmonically and rhythmically disruptive passages. The Hugo Wolf Quartett found subtle humour in the energetic vitality of the work, and presented a convincing account of this experimental work.

The Intermezzo was embraced by two sets of five songs from Wolf’s collection of forty-six translations of nameless Italian love poems, which depict the full range of emotions — passion and jealousy, ecstasy and despair — which characterise amorous relationships played out in everyday places: streets, marketplaces, churches. These rispetti from Tuscany are brief and mostly light-hearted, and the composer undoubtedly stamps his own personality on this anonymous collection; but Fink’s fluent and sleek delivery, captured the theatricality of the songs without being overly showy or self-dramatising.

Graceful and poised, Fink took us on a journey as man and woman fall, by turns, in and out of love. Fink can do ‘poised irony’ to a tee, as in ‘Wie lange schon’ (‘How I have yearned’) in which an artiste manqué longs for a ‘musician as a lover!’ who ‘with gentle mien … bows his head and plays upon the violin’. The members of the Hugo Wolf Quartett relished the musical wit, exaggerating first the lovelorn self-indulgence of the yearning would-be lover, then the inflated exuberance which greets the arrival of the long-for virtuoso, and finally the dreadful reality of the violinist’s pitiful technical aptitude.

Elsewhere Fink’s tone was intimate and personal, as in ‘Man sagt mir, deine Mutter wolle es nicht’ (‘They tell me your mother disapproves’); here Fink’s tone blossomed as she progressed from offended irritation to passionate avowal: “defy her, come more often than before!” At times, humour was to the fore, nowhere more so that in ‘Mein Liebster hat zu Tische mich geladen’ (‘My sweethart invited me to dinner’); here the accompaniment is illustrative, the accents in the quartet lines clearly mimicking the futile chopping of the ‘rock hard’ bread with a ‘knife quite blunt’.

This was a refined performance of these eloquent miniatures. It was a pity that the programme notes revealed nothing of the decision to perform these songs accompanied by string quartet, rather than piano; one would have welcomed some account of the process of arrangement for what this might have revealed about the relationship between voice and accompaniment in these songs (although the notes did remark that the tender ‘Wohl kenn’ ich Euren Stand’ employs a ‘string quartet-like texture’) — at the very least it would seem courteous to acknowledge the arranger!

This was a song recital characterised by captivating, but understated mastery. Bernarda Fink returns to the Wigmore Hall on 25th February to re-visit the Italian landscape. Accompanied by the Academy of Ancient Music, Italian Passions will explore ‘the emotional extremes and the open-hearted Italian spirit’ through a performance of Veracini, Merula, Vivaldi, Albinoni and Ferrandini.

Claire Seymour


Robert Schumann, String Quartet in A Op.41 No.3; Ottorino Resphigi, Il tramonto; Hugo Wolf, Five Songs from the Italienisches Liederbuch (‘Nein, junger Herr’, ‘Wie lange schon’, ‘Ihr jungen Leute, die ihr zeiht ins Feld’, ‘Gesegnet sei das Grün’, ‘Wir haben beide lange Zeit geschwiegen’); Intermezzo; Five Songs from the Italienisches Liederbuch (‘Mein Liebster hat zu Tische mich geladen’, ‘Wohl kenn’ ich Euren Stand’, ‘Man sagt mir, deine Mutter wolle es nicht’, ‘O wär’ dein Haus durchsichtig ein Glas’, ‘Wenn du, mein Liebster’)

Bernarda Fink, mezzo-soprano; Hugo Wolf Quartett: Sebastian Gürtler, violin; Régis Bringolf, violin; Gertrud Weinmeister, viola; Florian Berner, cello. Wigmore Hall, London, Wednesday 6th February, 2013.

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):