Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

J. C. Bach: Adriano in Siria

At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.

Bethan Langford, Wigmore Hall

The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.

Tansy Davies: Between Worlds (world premiere)

An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.

Arizona Opera Ends Season in Fine Style with Fille du Régiment

On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.

Il turco in Italia, Royal Opera

This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.

The Siege of Calais
——
The Wild Man of the West Indies

English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare The Wild Man of the West Indies (Il furioso all’isola di San Domingo).

The Met’s Lucia di Lammermoor

Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints

Voices, voices in space, and spaces: Thoughts on 50 years of Meredith Monk

When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda Chant II, which concluded the four-and-a-half hour Meredith Monk & Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.

St. John Passion by Soli Deo Gloria, Chicago

This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.

Fedora in Genoa

It is not an everyday opera. It is an opera that illuminates a larger verismo history.

The Marriage of Figaro, LA Opera

On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.

The Tempest Songbook, Gotham Chamber Opera

Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to explore the possibilities of unconventional spaces and unconventional programs that the company has made its hallmark. The results were musically and theatrically thought-provoking, and left me wanting more.

San Diego Opera presents Adams’ Riveting Nixon in China

Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.

Ars Minerva presents Castrovillari’s La Cleopatra in San Francisco

It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.

An Ideal Cast in Chicago’s Tannhäuser

Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.

Madame Butterfly, Royal Opera

Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.

Tosca in Marseille

Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.

Poetry beyond words — Nash Ensemble, Wigmore Hall

The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.

Arizona Opera Presents Magritte Style Magic Flute

On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.

Henry Purcell: A Retrospective

There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.

OPERA TODAY ARCHIVES »

Performances

James Gilchrist [Photo courtesy of Buxton Festival]
30 Jul 2013

Schubert’s Winterreise, Wigmore Hall

When faced with the illustrious Winterreises of the past and the renowned, and often highly original, interpretations of present-day performers, how is a tenor to approach Schubert’s setting of Wilhelm Müller’s pessimistic exploration of a mind spinning into disillusion and despair?

Schubert’s Winterreise, Wigmore Hall

A review by Claire Seymour

Above: James Gilchrist [Photo courtesy of Buxton Festival]

 

James Gilchrist’s wandering poet-narrator is not a tormented nor angst-laden Romantic hero, rather an introverted, sincere individual, struggling to understand the wiles of the world in which he lives. Gilchrist’s presentation of the rejected beloved of Schubert’s celebrated song-cycle is characterized not by excessive solipsistic anguish or ardent emotional unrest; instead, restrained introspective sorrow and self-honesty, punctuated by brief eruptions of misery and resentment in the face of a hostile fate, mark his progress through an unremittingly unsympathetic landscape.

Gilchrist’s technique is assured and his command of Schubert’s expressive elements intelligent and well-considered. A seamless lyricism and even tonal palette establish a focused emotional ambience, and the diction is unfailingly clear while never mannered. His tenor has a baritonal quality - a richly expressive middle range complemented by a lighter upper register - although the lower passages sometimes lack support and weight. A tendency to use a quasi-falsetto at moments of quiet poignancy is affecting but, upon repetition, the weightless, floating delivery became less effective. Gilchrist’s tone is beautiful and the projection easeful, but at times the voice is rather ‘breathy’ at the top, as what might be an expressive gesture seems to be a technical compensation. But, an unfussy attention to detail, and a quiet intensity and pensive intimacy characterised this warmly received Winterreise at the Wigmore Hall.

Pianist Anna Tilbrook began ‘Gute Nacht’ with a purposeful tread, self-contained but resolute; and Gilchrist’s beguiling legato and fluid phrasing established a dreamy air and ensured our sympathy and compassion. Moments of rhetorical anger - ‘Was soll ich länger weilen,/ Daß man mich treib’ hinaus’ (Why should I wait any longer/ for them to drive me out’) - were heightened but not exaggerated, and ceded to more resigned delicacy, ‘Gott has sie so gemacht … Fein Liebchen, gute Nacht’ (God has made it so … my sweetest love, good night’). Subtle rubatos conveyed both indecision and hope.

Gilchrist employed a wide dynamic range and interesting vocal timbres. At the conclusion of ‘Gefrorne Tränen’, his eerie low tenor erupted dramatically as the poet-narrator imagines his beloved as a fierce heat that will spring from his heart and melt the winter ice, the contrasting vocal shades and dynamics underscoring the painful depths of such fiery passion felt amid the wintry chill of the frozen landscape. ‘Wasserflut’ (Flood) was the epitome of well-considered musicianship, full of movement and unrest but the jarring contrasts of emotion crafted and controlled. The falling octaves of the opening lines were sweetly anguished, and Gilchrist found an angry, burnished colour to underscore the contrast between the cold flakes of snow and the poet-narrator’s burning agony. The beautiful, soft stillness of the closing lines was vividly swept aside by the acceleration and crescendo of the final assertion, ‘Fühlst du meine Tränen glühen,/ Da ist meiner Liebsten Haus’ (when you feel my tears burning, that will be my loved-one’s house).

A similarly surprising outburst marked the conclusion of ‘Auf dem Flusse’ (On the river). Gilchrist’s tenor was wonderfully contained and focused as the poet-narrator etches his beloved’s name upon the frozen surface of the silent stream, before turning his exasperation inwards, challenging his own heart, ‘Ob’s unter seiner Rinde/ Wohl auch so reißend schwillt?’ (is there such a raging torrent beneath its surface too?). And, this fury and momentum swept forth into the subsequent ‘Rückblick’ (A backward glance), where the animated piano figuration and alternating major and minor modes suggested the inner turmoil of the rushing, stumbling poet-narrator.

The perfectly coordinated vision of singer and pianist was apparent throughout. In ‘Die Wetterfahne’ (The Weather-vane) Tilbrook responded perceptively to the pictorial elements - the introductory flourishes mockingly conjuring the play of the wind - bringing gestures intermittently to the fore, then sensitively retreating. The turbulent introduction to ‘Erstarrung’ (Numbness) was wonderfully even, depicting the wanderer’s frustration and emotional torment; the merest pause preceded the question, ‘Wo find’ ich eine Blüte,/ Wo find’ ich grünes Gras?’ (Where shall I find a flower, where shall I find green grass?), giving the line added poignancy. The piano’s echoing motif which penetrates ‘Die Lindenbaum’ (The linden tree) was clearly articulated, integrated into the song’s narrative but never overpowering the voice.

‘Irrlicht’ (Will-o’-the-wisp) had a spookily improvisatory quality; but in the following ‘Rast’ (Rest), Gilchrist’s enriched his tone - although to convey the wanderer’s weary distraction, he diminished to a wistful pianissimo floating gesture - the voice contrasting tellingly with the dry, mocking ambience of the piano accompaniment. Changes of tempo were perfectly controlled in ‘Frühlingstraum’ (Dream of Spring), the sweet lightness of the nocturnal visions of springtime undermined by the piano’s Gothic rumblings, as the crowing cock and screaming ravens interrupt the idyll of the dream.

Only in the central sequence of songs, which share the same slow tempo, was there a slight loss of momentum and energy. A moment of pause at the conclusion of the introverted ‘Einsamkeit’ (Loneliness) conveyed the poet-narrator’s despair in the face of a seemingly indifferent natural beauty, but the steady tread of the subsequent songs occasionally lacked impetus. ‘Der greise Kopf’ (The hoary head) was, however, noteworthy for Gilchrist’s legato phrasing and the nuanced colours of Tilbrook’s accompanying chords, while in ‘Letzte Hoffnung’ (Last hope) the performers created a delicate, transparent texture, Gilchrist bringing deep sentiment to the drooping suspensions of the close: ‘Fall’ ich selber mit zu Boden,/ Wein’ auf meiner Hoffnung Grab’ (I too fall to the ground, weep on my hope’s grave).

Forward motion was regained in the concluding songs. Gilchrist revealed a commanding sense of the shape of the vocal phrases in ‘Der Wegweiser’ (The sign-post), the pulsing piano gesture suggesting an unobtrusive but immovable fate, symbolised by the sign-posts which direct the wanderer as he staggers on and on, in search of rest. In ‘Mut!’ (Courage!), the tenor’s bitterly determined tone was enhanced by vigorous dotted rhythms, and complemented by Tilbrook’s repeated rubato which conveyed the desperate effort required to battle onwards against the hostile snow.

The poignant tenderness of ‘Die Nebensonnen’ (Phantom suns) was deeply affecting, as Gilchrist modulated his well-supported mezza voce from initial dreamy illusion to more fervent assertion. ‘Die Leiermann’ (The organ-grinder) followed on without a pause, the slow pace and simple, unaffected vocal line conveying the poet-narrator’s utter exposure.

A long silence followed the final fading chords; indeed, it seemed a shame to break the mood of fragile vulnerability that the performers had so skilfully and sensitively crafted. But, Gilchrist and Tilbrook undoubtedly deserved the immensely appreciative applause which inevitably ensued, for this was a dignified and discerning Winterreise.

Claire Seymour


James Gilchrist, tenor; Anna Tilbrook, piano. Wigmore Hall, London, Friday, 26th July 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):