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

The Sixteen: Music for Reflection, live from Kings Place

For this week’s Live from London vocal recital we moved from the home of VOCES8, St Anne and St Agnes in the City of London, to Kings Place, where The Sixteen - who have been associate artists at the venue for some time - presented a programme of music and words bound together by the theme of ‘reflection’.

Iestyn Davies and Elizabeth Kenny explore Dowland's directness and darkness at Hatfield House

'Such is your divine Disposation that both you excellently understand, and royally entertaine the Exercise of Musicke.’

Paradise Lost: Tête-à-Tête 2020

‘And there was war in heaven: Michael and his angels fought against the dragon; and the dragon fought and his angels, And prevailed not; neither was their place found any more in heaven … that old serpent … Satan, which deceiveth the whole world: he was cast out into the earth, and his angels were cast out with him.’

Joyce DiDonato: Met Stars Live in Concert

There was never any doubt that the fifth of the twelve Met Stars Live in Concert broadcasts was going to be a palpably intense and vivid event, as well as a musically stunning and theatrically enervating experience.

‘Where All Roses Go’: Apollo5, Live from London

‘Love’ was the theme for this Live from London performance by Apollo5. Given the complexity and diversity of that human emotion, and Apollo5’s reputation for versatility and diverse repertoire, ranging from Renaissance choral music to jazz, from contemporary classical works to popular song, it was no surprise that their programme spanned 500 years and several musical styles.

The Academy of St Martin in the Fields 're-connect'

The Academy of St Martin in the Fields have titled their autumn series of eight concerts - which are taking place at 5pm and 7.30pm on two Saturdays each month at their home venue in Trafalgar Square, and being filmed for streaming the following Thursday - ‘re:connect’.

Lucy Crowe and Allan Clayton join Sir Simon Rattle and the LSO at St Luke's

The London Symphony Orchestra opened their Autumn 2020 season with a homage to Oliver Knussen, who died at the age of 66 in July 2018. The programme traced a national musical lineage through the twentieth century, from Britten to Knussen, on to Mark-Anthony Turnage, and entwining the LSO and Rattle too.

Choral Dances: VOCES8, Live from London

With the Live from London digital vocal festival entering the second half of the series, the festival’s host, VOCES8, returned to their home at St Annes and St Agnes in the City of London to present a sequence of ‘Choral Dances’ - vocal music inspired by dance, embracing diverse genres from the Renaissance madrigal to swing jazz.

Royal Opera House Gala Concert

Just a few unison string wriggles from the opening of Mozart’s overture to Le nozze di Figaro are enough to make any opera-lover perch on the edge of their seat, in excited anticipation of the drama in music to come, so there could be no other curtain-raiser for this Gala Concert at the Royal Opera House, the latest instalment from ‘their House’ to ‘our houses’.

Fading: The Gesualdo Six at Live from London

"Before the ending of the day, creator of all things, we pray that, with your accustomed mercy, you may watch over us."

Met Stars Live in Concert: Lise Davidsen at the Oscarshall Palace in Oslo

The doors at The Metropolitan Opera will not open to live audiences until 2021 at the earliest, and the likelihood of normal operatic life resuming in cities around the world looks but a distant dream at present. But, while we may not be invited from our homes into the opera house for some time yet, with its free daily screenings of past productions and its pay-per-view Met Stars Live in Concert series, the Met continues to bring opera into our homes.

Precipice: The Grange Festival

Music-making at this year’s Grange Festival Opera may have fallen silent in June and July, but the country house and extensive grounds of The Grange provided an ideal setting for a weekend of twelve specially conceived ‘promenade’ performances encompassing music and dance.

Monteverdi: The Ache of Love - Live from London

There’s a “slide of harmony” and “all the bones leave your body at that moment and you collapse to the floor, it’s so extraordinary.”

Music for a While: Rowan Pierce and Christopher Glynn at Ryedale Online

“Music for a while, shall all your cares beguile.”

A Musical Reunion at Garsington Opera

The hum of bees rising from myriad scented blooms; gentle strains of birdsong; the cheerful chatter of picnickers beside a still lake; decorous thwacks of leather on willow; song and music floating through the warm evening air.

'In my end is my beginning': Mark Padmore and Mitsuko Uchida perform Winterreise at Wigmore Hall

All good things come to an end, so they say. Let’s hope that only the ‘good thing’ part of the adage is ever applied to Wigmore Hall, and that there is never any sign of ‘an end’.

Iestyn Davies and Elizabeth Kenny bring 'sweet music' to Wigmore Hall

Countertenor Iestyn Davies and lutenist Elizabeth Kenny kicked off the final week of live lunchtime recitals broadcast online and on radio from Wigmore Hall.

From Our House to Your House: live from the Royal Opera House

I’m not ashamed to confess that I watched this live performance, streamed from the stage of the Royal Opera House, with a tear in my eye.

Woman’s Hour with Roderick Williams and Joseph Middleton at Wigmore Hall

At the start of this lunchtime recital, Roderick Williams set out the rationale behind the programme that he and pianist Joseph Middleton presented at Wigmore Hall, bringing to a close a second terrific week of live lunchtime broadcasts, freely accessible via Wigmore Hall’s YouTube channel and BBC Radio 3.

Natalya Romaniw - Arion: Voyage of a Slavic Soul

Sailing home to Corinth, bearing treasures won in a music competition, the mythic Greek bard, Arion, found his golden prize coveted by pirates and his life in danger.

OPERA TODAY ARCHIVES »

Performances

Matthias Goerne [Photo by Marco Borggreve]
26 Sep 2013

Schubert Songs with Harp: Matthias Goerne, Wigmore Hall

In the first of his two recitals at the Wigmore Hall this week, Matthias Goerne sang Schubert, but Schubert with a difference.

Franz Schubert Lieder : Matthias Goerne, Sarah Christ, Wigmore Hall, London 25th September 2013

A review by Anne Ozorio

Above: Matthias Goerne [Photo by Marco Borggreve]

 

Instead of the familiar songs for voice and piano, Goerne sang versions transcribed for harp, accompanied by Sarah Christ. Goerne knows the Wigmore Hall audience. True Lieder devotees were intrigued.

Throughout the Lieder repertoire, there are references to Ständchen, serenades where a man, usually alone, sings and plays a simple, portable plucked string instrument, much in the way that troubadours performed centuries before. Indeed, the idea of song with harp long predates Lieder itself. The harp is a much less sophisticated instrument than a modern piano. It's more in keeping with the Arcadian image of the harp, where a bard might play and sing in tune with nature. Wilhelm Meister, for example, creating his music as he wandered. Harps also evoke the sounds of lutes, zithers and even early guitars. There's an excellent transcription of Die schöne Müllerin for guitar, which brings out the miller's relationship with his lute, as well as with the brook. Goerne's concept of Lieder with harp has a long pedigree.

Dynamics shift when Schubert is heard with harp instead of piano. The sound is more fluid, more "innocent" and naturalistic. Perhaps sound is more difficult to control when it resonates over a long string. Sarah Christ made the harp sound playful, spontaneous, even slightly unpredictable. Goerne had to listen, even more carefully than usual, adapting his singing to a lighter, brighter voice than a piano. It was refreshing to hear familiar songs done in this new way. They felt even more personal, as if we were listening in natural surroundings rather than in the formal context oif a concert hall.

Songs like Im Frühling (D882. 1826) and Das Lied im Grünem (D917. 1827) adapted well to the more vernal approach. Goerne's timbre rose to a transparency one doesn't normally associate with a baritone with bass-like coloration. This suited Des Fischers Liebesglück (D913, 1827) where the fisherman's lines are short and simple, suggesting his unspoiled simplicity. It was interesting to hear how Goerne respected the slight pauses between each short phrase, while Christ's harp continued to resonate even after her hands had left the strings. Just as Schubert describes moonlight, stars and the stillness of night, Goerne and Christ create an atmosphere of watchfulness. In Der Winterabend (D938, 1828), the harp evokes the sound of muffled snowfall, from which the voice emerges with warmth.

"Und geb' ein Lied euch noch zur Zither, mit fliess gesungen un gespeilet" (Pilgerweise (D789, 1823), worked particularly well with the humble harp, as did Der Kreuzzug (D932, 1827). Christ's playing tolls, like a bell in an austere monastery. Goerne floats the extremely high lines in the first strophe so we can imagine what the monk might feel as he watches the Crusaders on their way to war. Then his force takes on the rich, dark assertiveness for which he has no peer. ""Ich bin, wie ihr, ein Pilger doch!" he sings with fervour. The monk is fighting inner battles every bit as difficult as those the Crusaders are heading for.

Although Wigmore Hall concerts are rarely disappointing, this season's concerts so far have been enjoyable more for the artistry of the performers than for the technical standards of performance. Goerne, however, restored the balance. His voice has blossomed since he was last heard in London, and is now truly revealing its riches.

His three Gesänge des Harfners were outstanding. Superlative singing, beautifully nuanced and shaped. The best singing so far this year and more to come on Friday 27th, no doubt. Wilhelm Meister, the harper, wanders through life, haunted by guilt. "Wer nie sein Brot mit Tränen aß, ....Der kennt euch nicht, ihr himmlischen Mächt!". He who has never eaten his bread with tears....cannot know the power of Heaven". Goerne's voice resonates, expressing mysteries and pain words alone cannot articulate. Yet even in his anguish, the Harper finds validation.of some sort, through his art.

Exceptionally well-written programme notes by Richard Stokes, If the Wigmore Hall collects his work into a compendium, it will create a classic reference work. Programme notes, though, are written before a performance and don't directly relate to it. If the Wigmore Hall does another programme like this (lots of possibilities) it would be nice to read something on Schubert's interest in instruments other than piano. That would take the erudition of a Richard Stokes to be truly original.

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):