24 Jan 2014
Christoph Prégardien, Wigmore Hall
Christoph Prégardien has always been a master of creative, exciting ways with Lieder.
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.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
For the first time in its history, this summer Garsington Opera will present four productions as well as a large community opera. 2017 also sees the arrival of the Philharmonia Orchestra for one opera production each season for the next five years.
New work by the English artist Rachel Kneebone will be exhibited at Glyndebourne Festival 2017, which opens for public booking on 5 March. The London-based artist has created three new sculptures inspired by two of the operas being staged at the Festival this summer - Cavalli’s Hipermestra and a new opera based on Hamlet by composer Brett Dean and librettist Matthew Jocelyn.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
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.