Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Vaughan Williams Dona nobis pacem - BBC Prom 41

Prom 41 at the Royal Albert Hall, London, with Edward Gardner conducting the BBCSO in Vaughan Williams's Dona nobis pacem, Elgar's Cello Concerto (Jean-Guihen Queyras) and Lili Boulanger . Extremely perceptive performances that revealed deep insight, far more profound than the ostensible "1918" theme

Lisbon under ashes - rediscovered Portuguese Baroque

In 1755, Lisbon was destroyed, first by a massive earthquake, then by a tsunami pouring in from the Atlantic, then by fire and civil unrest. The scale of the disaster is almost unimaginable today. The centre of the Portuguese Empire, with treasures from India, Africa, Brazil and beyond, was never to recover. The royal palaces, with their libraries and priceless collections, were annihilated.

John Wilson brings Broadway to South Kensington: West Side Story at the BBC Proms

There were two, equal ‘stars’ of this performance of the authorised concert version of Leonard Bernstein’s West Side Story at the Royal Albert Hall: ‘Lenny’ himself, whose vibrant score - by turns glossy and edgy - truly shone, and conductor John Wilson, who made it gleam, and who made us listen afresh and intently to every coloristic detail and toe-tapping, twisting rhythm.

Prom 36: Webern, Mahler, and Wagner

One of the joys of writing regularly – sometimes, just sometimes, I think too regularly – about performance has been the transformation, both conscious and unconscious, of my scholarship.

Prom 33: Thea Musgrave, Phoenix Rising, and Johannes Brahms, Ein deutsches Requiem, op.45

I am not sure I could find much of a connection between the two works on offer here. They offered ‘contrast’ of a sort, I suppose, yet not in a meaningful way such as I could discern.

Gianni Schicchi by Oberlin in Italy

It’s an all too rare pleasure to see Puccini’s only comedy as a stand alone opera. And more so when it is a careful production that uncovers the all too often overlooked musical and dramatic subtleties that abound in Puccini’s last opera.

Sarah Connolly and Joseph Middleton journey through the night at Cadogan Hall

The mood in the city is certainly soporific at the moment, as the blistering summer heat takes its toll and the thermometer shows no signs of falling. Fittingly, mezzo-soprano Dame Sarah Connolly and pianist Joseph Middleton presented a recital of English song settings united by the poetic themes of night, sleep, dreams and nightmares, juxtaposing masterpieces of the early-twentieth-century alongside new works by Mark-Anthony Turnage and Australian composer Lisa Illean, and two ‘long-lost’ songs by Britten.

Vanessa: Keith Warner's Glyndebourne production exposes truths and tragedies

“His child! It must not be born!” Keith Warner’s new production of Samuel Barber’s Vanessa for Glyndebourne Festival Opera makes two births, one intimated, the other aborted, the driving force of the tragedy which consumes two women, Vanessa and her niece Erika, rivals for the same young man, Anatol, son of Vanessa’s former lover.

Rollicking Rossini in Santa Fe

Santa Fe Opera welcomed home a winningly animated production of L’Italiana in Algeri this season that utterly delighted a vociferously responsive audience.

Rock solid Strauss Salomé- Salzburg

Richard Strauss Salomé from the Salzburg Festival, conducted by Franz Welser-Möst, a powerful interpretation of an opera which defies easy answers, performed and produced with such distinction thast it suceeds on every level. The words "Te saxa Loquuntur" (The stones are speaking to you) are projected onto the stage. Salzburg regulars will recognize this as a reference to the rock foundations on which part of the city is built, and the traditions of excellence the Festival represents. In this opera, the characters talk at cross-purposes, hearing without understanding. The phrase suggests that what might not be explicitly spoken might have much to reveal.

Prom 26: Dido and Cleopatra – Queens of Fascination

In this, her Proms debut, Anna Prohaska offered something akin to a cantata of two queens, complementary and contrasted: Dido and Cleopatra. Returning in a sense to her ‘early music’ roots – her career has always been far richer, more varied, but that world has always played an important part – she collaborated with the Italian ‘period’ ensemble, Il Giardino Armonico and Giovanni Antonini.

Parsifal: Munich Opera Festival

And so, this year’s Munich Opera Festival and this year’s Bavarian State Opera season came to a close with everyone’s favourite Bühnenweihfestspiel, Parsifal, in the final outing this time around for Pierre Audi’s new production.

Santa Fe: Atomic Doesn’t Quite Ignite

What more could we want than having Peter Sellars re-imagine his acclaimed staging of John Adams’ Doctor Atomic at the renowned Santa Fe Opera festival?

Santa Fe: Continuing a Proud Strauss Tradition

Santa Fe Opera has an enduring reputation for its Strauss, and this season’s enjoyable Ariadne auf Naxos surely made John Crosby smile proudly.

From the House of the Dead: Munich Opera Festival

Frank Castorf might have been born to direct From the House of the Dead. In this, his third opera project - or better, his third opera project in the opera house, for his Volksbühne Meistersinger must surely be reckoned with, even by those of us who did not see it - many of his hallmarks and those of his team are present, yet without the slightest hint of staleness, of anything other than being reborn for and in the work.

Haydn's Orlando Paladino in Munich

Should you not like eighteenth-century opera very much, if at all, and should you have no or little interest in Haydn either, this may have been the production for you. The fundamental premise of Axel Ranisch’s staging of Orlando Paladino seems to have been that this was a work of little fundamental merit, or at least a work in a genre of little such merit, and that it needed the help of a modern medium - perhaps, it might even be claimed, an equivalent medium - to speak to a contemporary audience.

Donizetti's 'Regiment' Ride the Highway: Opera della Luna at Wilton's Music Hall

'The score … is precisely one of those works that neither the composer nor the public takes seriously. The harmony, melody, rhythmic effects, instrumental and vocal combinations; it’s music, if you wish, but not new music. The orchestra consumes itself in useless noises…'

Bernstein Bemuses in New Mexico

Santa Fe Opera’s Candide is a nearly indefatigable romp that is currently parading on the Crosby Theatre stage, chockfull of inventive ideas.

Santa Fe Floats a Beauteous Butterfly

Two new stars moved triumphantly into the ongoing run of Santa Fe Opera’s mesmerizing rendition of Puccini’s Madame Butterfly.

Götterdämmerung in Munich

What I am about to write must be taken with the proviso that I have not seen, this year or any other, the rest of Andreas Kriegenburg’s Munich Ring. Friends tell me that would have made little difference, yet I cannot know for certain.

OPERA TODAY ARCHIVES »

Reviews

28 Nov 2016

Gothic Schubert : Wigmore Hall, London

Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.

Franz Schubert Lieder : Stuart Jackson, Marcus Farnsworth, James Baillieu, Wigmore Hall, London 24th November 2016

A review by Anne Ozorio

 

This recital will be one Lieder aficionados will remember for years. For 19th century Romantics, death was a source of endless fascination, much in the way that sex dominated the 20th century. Many songs in this programme are early works, some written when Schubert was as young as 14, and give an insight into his youthful psyche. Like most teenagers, before and since, he was intrigued by "the dark side". In a strict Catholic society, the Gothic Imagination gave a kind of legitimacy to dangerous, subversive emotions. The whole Romantic sensibility was a kind of Oedipal reaction against the paternalism of neo-Classical values. In these songs, we can hear young Schubert rebelling against his father, connecting to what we'd now call the subconscious.

In Ein Leichenfantasie D7 (1811) to a poem by Friedrich Schiller, a man is burying his son in a crypt. But why is the burial taking place in the dead of night. The son has a "Feuerwunde" penetrating his very soul with "Höllenschmerz". This death was not from natural causes. Suicide was a mortal sin. Schiller's meditation on the reversal of the natural order is sophisticated, the transits in the poem rather more elegant than Schubert's setting. In 1811, he was but still a child, so his transits between ideas are less elegant than Schiller's, but the ideas are original, if not completely coherent. Still, the song is an audacious tour de force lasting nearly 20 minutes, an undertaking that calls for finesse in performance. Eine Leichenfantasie exists in both baritone and tenor versions, though the former is better known, but it would have been asking too much of most audiences to hear both versions together in succession.

There were other sets of songs like Das war ich D174 a and b but the Kosegarten pairs, An Rosa I D315 (1815) and An Rosa II D 316 and the two Abends unter der Linde D235 and D237 (1816) benefited from the greater variety in the settings. The first Abends unter der Linde, for example, is more lyrical, the second more haunted, with its reference to the names of the poet's deceased children. Hence the value of a tenor/baritone recital highlighting contrasts in related pieces. There's clearly a good dynamic between Jackson and Farnsworth, which made the alternations flow together well. Their joint Lied (Ins stille Land) D403 (1816) was extremely impressive, the alternating voices capturing the lively flow of the music in typically Schubertian style, reaching "the land of rest" by vigorous images of movement, vividly depicted by Baillieu's expressive playing. Even with two very different songs, Lob des Tokayers D248 (1815)(Gabriele von Naumberg) and Punschlied 'Im Norden zu singen' D253 (1815) (Schiller) the flow between voices was enhanced by a very genuine sense of conviviality between Jackson and Farnsworth. Sincerity does matter in a genre like Lieder, which is so intense and so personal.

Sincerity matters, too, in strophic ballads like Der Vatermörder D10 (1811) to a poem by Gottlieb Conrad Pfeffel, in which a son kills his father. "Kein Wolf, kein Tiger, nein, Der Mensch allein, der Tiere Fürst, erfand den Vatermord allein, which makes an emotional point, though it's not borne out in nature. The text is maudlin. Having killed his father, the son wipes out a brood of fledgings whom he thinks were mocking him. Such melodrama might call for overblown declamation. Instead, Jackson sang sensitively: we must not laugh. The piano part thunders obsessively, suddenly slowing into watchful near silence, suggesting that the killer is insane, or at least as feral as the beasts of the woods. Like Eine Leuchenfantasie, Der Vatermörder is a teenage piece without much finesse, but Schubert treats it seriously, and so should we. This same emotional truth illuminated another pairing Der Einseidelei I and II, D393(1816) and D563 (1817) respectively. Both are settings of poems by Johann Gaudenz, Freiherr von Salis-Seewis, about hermits who live alone in nature: simple sentiments but not at all simplistic. Jackson's phrasing was sensual yet pure, suggesting that the hermit's choice was riches indeed. In Des Fräuleins Liebeslauchen D698 (1820) (Schlechta), a lovesick knight throws flowers to his ladylove. Jackson's naturalness of expression made us respect the knight, though his love might be in vain.

Jackson and Farnsworth are among the most promising English singers of their generation. I first heard Jackson sing a few songs in a private recital when he was only 22. Yet his voice is so distinctive that I immediately recognized it some years later when he sang at the Wigmore Hall/Kohn Foundation International Song Competition in 2011. Since then, he's developed extremely well, with a blossoming career in opera. Having worked in Stuttgart, his German is also more idiomatic than most English singers. Marcus Farnsworth won the Wigmore Hall/Kohn Foundation Song Competition in 2009 and appears in recital and on the BBC. James Baillieu is a well-known song accompanist and chamber player, who presented an 11-concert series at the Wigmore Hall last year.

This splendid programme, and performance, concluded with Schubert's Fischerweise D881 (1826) (Franz Xaver Freiherr von Schlechta) , a familiar favourite but rarely, if ever, heard with tenor and baritone sharing the honours. An inspired idea! The song moves briskly, with the piano playing jaunty rhythms "gleich den Wellen, und frei sein wie die Flut", which repeat in not quite matching pairs. With two singers, you can also hear how this duality is also embedded in the vocal line.The voices interact, like oars, pulling together. In the final strophe,words like "Die Hirtin" and "schlauer Wicht" are separated more clearly than is often the case, but this further emphasizes the choppy "waves" in the piano part and the concept of the sea as a metaphor for life. Meanwhile, on a bridge, a shepherdess coyly pretends to fish. The fisherman isn't fooled. "Den Fisch betrügst du nicht!"

Anne Ozorio

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):