24 Jan 2014
Christoph Prégardien, Wigmore Hall
Christoph Prégardien has always been a master of creative, exciting ways with Lieder.
This may be the twelfth revival of Jonathan Miller’s 1987production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.
The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.
English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).
Sounds swirl with an urgent emotionality and meandering virtuosity on Jonas Kaufmann’s new Puccini album—the “real one”, according to Kaufmann, whose works were also released earlier this year on Decca records, allegedly without his approval.
LA Opera got its season off to an auspicious beginning with starry revivals of Gianni Schicchi and Pagliacci.
On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.
On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.
The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.
Marion Cotillard and Marc Soustrot bring the drama to the sweeping score of Arthur Honegger’s Jeanne d’Arc au bûcher, an adaptation of the Trial of Joan of Arc
Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.
Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius he lamented and revered in equal measure, and against whom he schemed and plotted at the Emperor Joseph II’s Viennese court.
The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.
Stephen Paulus provided the musical world, and particularly the choral world, with music both provocative and pleasing through a combination of lyricism and a modern-Romantic tonal palette.
Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.
One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal family’s fateful dependency on and submission to the deathly power of the sea.
Is there anything that countertenor Iestyn Davies cannot do with his voice?
BBC Proms Youth Choir shines in a performance notable for its magical transparency
The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.
Disappointing staging mars Alice Coote’s vibrant if wayward musical performance
Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.
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.