24 Jan 2014
Christoph Prégardien, Wigmore Hall
Christoph Prégardien has always been a master of creative, exciting ways with Lieder.
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.
Following highly successful UK premières of Salieri’s Falstaff (in 2003) and Trofonio’s Cave (2015), this summer Bampton Classical Opera will present the first UK performances since the late 18th century of arguably his most popular success: the bitter comedy of marital feuding, The School of Jealousy (La scuola de’ gelosi). The production will be designed and directed by Jeremy Gray and conducted by Anthony Kraus from Opera North. The English translation will be by Gilly French and Jeremy Gray. The cast includes Nathalie Chalkley (soprano), Thomas Herford (tenor) and five singers making their Bampton débuts:, Rhiannon Llewellyn (soprano), Kate Howden (mezzo-soprano), Alessandro Fisher (tenor), Matthew Sprange (baritone) and Samuel Pantcheff (baritone). Alessandro was the joint winner of the Kathleen Ferrier Competition 2016.
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.
Applications are now open for the Bampton Classical Opera Young Singers’ Competition 2017. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.
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).
Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.
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.
A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.
Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.
This Sunday the Metropolitan Opera will feature as part of the BBC Radio 3 documentary, Opera Across the Waves, in which critic and academic Flora Willson explores how opera is engaging new audiences. The 45-minute programme explores the roots of global opera broadcasting and how in particular, New York’s Metropolitan Opera became one of the most iconic and powerful producers of opera.
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.
Christoph Prégardien has always been a master of creative, exciting ways with Lieder.
He and Michael Gees gave a recital at the Wigmore Hall, London, which showed how vigorous the Lieder tradition continues to be. Prégardien and Gees created a programme that illuminated the liveliness of the Romantic imagination. Nature spirits abound, and fairy tales and ghostly figures of legend. Lulled into fantasy, one might miss the hints of danger that lurk behind these charming dreamscapes. The Romantics were intrigued by the subconcious long before the language of psychology was coined.
The recital began with one of the most lyrical songs in the whole Lieder repertoire, Carl Loewe's Der Nöck (Op129/2 1857) to a poem by August Kopisch. A Nix, a male water sprite who plays his harp by a wild waterfall. Its waves hang suspended in mid air, the vapours forming a rainbow halo around the Nix. Circular figures in the piano part suggest tumbling waters. Prégardien breathed into the long vowel sounds so they rolled beautifully We could hear what the text means when it refers to a nightingale, silenced in awe. Suddenly the magic is broken when humans draw near. The waves roar, the trees stand tall, and the nightingale flees, until it's safe for the Nöck to reveal himself again. Prégardien and Gees paired Loewe's song with Franz Schubert.s Der Zwerg (D771, 1822) to a poem by Matthäus von Collin. A queen and a dwarf are alone on a boat on a lake. Love, murder and possible suicide haunt the idyll. The Id is released, violently, in a blissful setting.
Franz Liszt's Es war ein König in Thule> (S278/2 1856) sets a poem from Goethe's Faust. Schubert's setting is more folkloric, reflecting the innocence of Gretchen who sings in the saga. Liszt's setting is more elaborate. Lovely, falling diminuendos describe the way the King drinks one last time from his chalice, before throwing it "hinunter in die Flut". Perhaps the queen who gave him the chalice was herself a nature spirit who lived beneath the lake? Prégardien intoned the line "Trank nie einen Tropfen mehr" solemnly : the King has died.
Prégardien has championed the songs of Franz Lachner (1803-1890), who knew Schubert, Loewe, Schumann and Wagner, and worked in court circles in Munich, where he knew only too well what the Romantic imagination could do to real kings like Ludwig II. Lachner's Die Meerfrau was written in Vienna, comes from early in his career and sets a poem by Heinrich Heine. A water spirit appears and drags a mortal to a watery grave. The song comes from Lachner's magnum opus, Sängerfahrt op 33 (1831) where the are numerous songs on similar themes of supernatural seduction and death. Ironically, Lachner wrote the collection on the eve of his own marriage, dedicating it to his bride. One wonders what modern psychoanalysts might make of that. Prégardien and Gees also performed Lachner's Ein Traumbild from the same collection. Tjhe final strophe is particularly luscious: The cock crows at dawn, and the vampire seductress flees.
Prégardien and Gees also performed Liszt's Die Loreley (S273/2 1854-9), whose long prelude contains the Tristan motif in germ, before it was developed by Wagner. As Richard Stokes writes in his programme notes, it "begins with a leap of a diminished seventh : the voice however begins with a fourth ...and then soars a sixth - identical in harmonic terms with the piano's diminished sevenths". In the context of these feverish succubi, Hugo Wolf's Ritter Kurts Brautfahrt (1888) made an interesting contrast. On the way to his wedding, the Knight meets many temptations that almost throw him off course, including a mystery nursemaid who claims that her charge is his child. Yet it's quite a cheery song with cryptic in-jokes that refer to the music of Wolf's friend, the composer Karl Goldmark, who lent Wolf money, knowing he wouldn't be repaid.
Prégardien's unique timbre and ability to float legato has inspired several composers, most notably Wilhelm Killmayer (b 1927). Killmayer's Hölderlin Lieder were written for Peter Schreier and are, I think, the most exquisite songs of the last half of the last century. Prégardien has recorded them too. Killmayer wrote his Heine Lieder for Prégardien, setting 35 songs by Heine. Killmayer's songs don't imitate Schumann's. They engage with the meaning of Heine's texts in a highly original style, with pauses, and piano resonances that float in the air. The effect resembles speech, yet also inner contemplation. Killmayer revisits the poets of the past, and writes music for them in a new, refreshing way.
In this Wigmore Hall recital, Prégardien and Gees performed Killmayer's Schön-Rohtraut (2004). The poem is Eduard Mörike, from 1838. Rohtraut is King Ringang's daughter. She doesn't spin or sew, but hunts annd fishes like a man. Mörike was inspired by the strange sound of the names, which he found in an ancient book, but the princess could be a reincarnation of the wild and elusive "Peregrina" who might have led Mörike astray. The lines are simple and repetitive, which suits Killmayer's abstract, almost zen-like purity. As Rohtraut leads the boy into the woods, his excitement mounts. Killmayer's delicate, fluttering note sequences suggest a heart beating with nervous anticipation. We feel we are at one with the boy, as enthralled as he.
Michael Gees is himself a composer, and Prégardien has performed and recorded his songs several times. This time, we heard Gees's Der Zauberlehrling (2005) where he sets Goethe's poem about the sorcerer's apprentice who uses magic to wash the floor and conjures up a flood. Gees setting is delightful. Rolling, rumbling figures to suggest the rising waters, and a stiff march to suggest the legions of broomsticks. Syncopated rhythms and zany downbeats, used with great flair. The audience burst into spontaneous applause. Gees and Prégardien were taken by surprise. Gees was thrilled, and beamed with happiness. It's heart warming to see a composer get respect like that.
The recital ended with old favourites like Loewe's Edward (Op1/11818) Tom der Reimer (Op 135a 1860), Schumann's Belsazar (Op57 1840) and Wolf's Der Feuerreiter (1888). Schubert's Erlkönig made a rousing encore, Since Prégardien and Gees had done Loewe's Erlkönig (Op 1/23 1818) earlier in the evening, it was good to reflect on the differences between the two settings. Loewe's real answer to Schubert's Erlkönig is his Herr Oluf, which is another song of prenuptial anxiety, murder and mayhem, . Prégardien and Gees could be doing recitals like this over and over and not exhaust the Lieder repertoire.