16 Sep 2013
Thomas Hampson: Mahler Songs
Thomas Hampson “lives” Mahler. He's the greatest Mahler singer of our time, and a serious Mahler scholar as well.
On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.
Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.
Calliope Tsoupaki’s latest opera, Fortress Europe, premiered as spring began taming the winter storms in the Mediterranean.
To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.
Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
Thomas Hampson “lives” Mahler. He's the greatest Mahler singer of our time, and a serious Mahler scholar as well.
You could almost say that what Hampson doesn't know about Mahler might not be worth knowing, but he still finds something fresh and new. So, even after all these years, it was good to hear Hampson and Wolfram Rieger perform Mahler at the Wigmore Hall.
Hampson and long-term collaborator Rieger began at the beginning, with some of Mahler’s earliest songs such as Scheiden und Meiden and Aus! Aus! from around 1888. They are significant because they represent Mahler’s earliest engagement with Des Knaben Wunderhorn, the collection of folk-derived poems published by Achim von Arnim and Clemens Brentano in 1806/8. Their appeal to Mahler is obvious. He grew up in a small town with a military garrison. From childhood, he would have recognized the sound of marches and military bands and connected emotionally to the lives of soldiers, and to the simple townsfolk and huntsmen around him. Death was no stranger to Mahler even as a child. Indeed, his fascination with marches, funeral marches and resurrection stemmed from very deep sources in his psyche
Hampson has spoken out against war and gave a remarkable recital in which the Wunderhorn songs were perceptively presented by theme rather than as they appear in publication. Hampson called the Wunderhorn songs “negative love songs” for their protagonists retain sturdy defiance in adverse situations. Lied des Verfolgten im Turm (1898) refers to the picture by Moritz von Schwind. A man is imprisoned in a tower. Meanwhile a row of elves are busily trying to saw down the bars on the window to help him escape. “Gedanken sind Frei”, Hampson cried. Thoughts are free. As long as we can dream, we cannot be suppressed. Even now, that’s a revolutionary concept.
Zu Strassburg auf der Schanz, with its march rhythm just slightly off-beat, resolves in an evocation of trumpets and drums. The symphonist in Mahler was never far away, even when he was writing piano song. Revelge, that most nightmarish of songs is a masterpiece. If Hampson’s voice wasn’t, on this occasion, as rich and fluid as it can be, Rieger’s playing was manic, horrific. Rieger’s staccato ripped like a volley of machine-gun fire. As Hampson notes, the music evokes”Drang”, the Grim Reaper gone mad. With our modern ears, it’s like a forewarning of the slaughter of the trenches, and worse..”Tralali, tralaley, tralalera” is no lullaby here, but a bitter protest.
Although Alma would ridicule Alexander von Zemlinsky in her memoirs, the truth is more complex. Zemlinsky knew Alma’s songs years before they reached publication. Even though he was infatuated, he told her that her music was, like herself, “a warm, feminine sensitive opening but then of doodles, flourishes, unstylish passage work. Olbrich [a publisher] should have your songs performed by an artiste from the Barnum and Bailey (circus) company, wearing the customary black tails, and on his head, a dunce’s cap”. It is significant that Alma’s songs are orchestrated frequently by other composers, who want them to be more than they are.
The connections between Mahler, Zemlinsky, Strauss, Dehmel, Schoenberg and Webern are so well known they don’t need explanation. Hampson sang Zemlinksy’s Enbeitung, Alma’s Die stille Nacht.and three settings of Dehmel, two by Webern (Aufblick and Tief von fern, both 1901-4) and one by Strauss (Befreit, op 39/4 1898). In Befreit, the round vowel sounds resonated with warmth. “O Glück !” he sang, rising to a glowing crescendo. His family and friends were in the audience. Hampson’s feelings were touchingly sincere, though the poem itself is more equivocal.
The highlight of the evening was Schoenberg’s Erwartung op 2/1 1899), which pre-dates the monodrama op 17 (1909), and even Schoenberg’s meeting with Marie Pappenheim. The dedicatee was Zemlinsky, and the text by Richard Dehmel. It’s a cryptic poem where images are reversed. “Aus der meergrünen Tieche....schient der Mond”. A woman’s face appears under the water. A man throws a ring into the pond. Three opals sparkle. He kisses them, and in the sea-green depths “Ein Fenster tut sich auf”. Hampson sang, floating the words with eerie stillness. Then the punchline: “Aus der roten Villa neben den der toten Eiche” with which the poem began, a woman’s pale hand waves. Rieger played the circular figures so they felt obsessive, as if trapped in an endless mad dance. The similarities with the later Erwartung are obvious, but the song is fin-de- siècle symbolism and very early Expressionism rather than psychosis. In retrospect, it might seem eerily prophetic of the relationships between Mathilde Zemlinsky and Richard Gerstl, or indeed, Alma and Gropius.
Mahler’s Rückert-Lieder are so well known now that it’s sometimes forgotten - though not by Hampson - that they were originally published together with the Wunderhorn songs Revelge and Der Tambourg’sell. which weren’t included with the first Wunderhorn collections. In 1993, Hampson recorded an interesting collection of Wunderhorn-themed songs with Geoffrey Parsons, which included piano song versions of Urlicht and Es Sungen drei Engeln. This time, with Rieger at the Wigmore Hall, he separated the first four Rückert-Lieder with a Wunderhorn song (Erinnerung) and sang Liebst du um Schönheit as a finale, intensifying the underlying theme of the recital. “It’s a postcard”, said Hampson, “a message of love”. “If you love for beauty, youth or riches” runs the poem, “Do not love me. But if you love for the sake of love, Dich lieb’ ich immerdar”. The most beautiful, most tender song of the evening, straight from the heart.