24 Jan 2014
Christoph Prégardien, Wigmore Hall
Christoph Prégardien has always been a master of creative, exciting ways with Lieder.
“Hi! I’m at the Wigmore Hall!” American mezzo-soprano Jamie Barton’s exuberant excitement at finding herself performing in the world’s premier lieder venue was delightful and infectious. With accompanist James Baillieu, Barton presented what she termed a “love-fest” of some of the duo’s favourite art songs. The programme - Turina, Brahms, Dvořák, Ives, Sibelius - was also surely designed to show-case Barton’s sumptuous and balmy tone, stamina, range and sheer charisma; that is, the qualities which won her the First and Song Prizes at the 2013 BBC Cardiff Singer of the World Competition.
“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
Francesco Cavalli’s La Calisto was the composer’s ﬁfteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure, this new production presents the plot as the dying protagonist’s feverish hallucinations. The result is a frosty retelling of what is arguably Puccini’s most hot-blooded opera. Musically, the performance also left much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang bergetar akan terhapus.” (“The transient cannot hold on to stars lost in the Milky Way; that which quivers will be erased.”) As soprano Tony Arnold sang these words of Tony Prabowo’s chamber opera Pastoral, with astonishingly crisp Indonesian diction, the first night of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.
Manitoba Underground Opera took audiences on a journey — literally and figuratively — as it presented its latest installment of repertory opera between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
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.