Showing posts with label Strauss Four Last Songs. Show all posts
Showing posts with label Strauss Four Last Songs. Show all posts

Friday, August 25, 2017

A steamy date in Snape

Spent most of yesterday driving to and from Aldeburgh with the OH to experience a very special night of Strauss and Elgar at the Snape Proms. Renée Fleming sang the Strauss Four Last Songs and the programme was topped and tailed with his Till Eulenspiegel and Elgar's Symphony No.1. On the platform was a familiar presence who's nevertheless unusual in the context of this orchestra. It wasn't his first concert with them by a long chalk, but the first in a little while. So, with apologies to The Guardian's 'Blind Date', here's what happened when Ed Gardner met the LPO.

You'd never think that just behind you is one of the best concert halls in the country

What were they hoping for?
A dynamic partnership of orchestra and conductor in which sympathy is found, sparks can fly and the audience can get really excited about the music. At least, that's usually what they want. 

What did they talk about?
The end of days, intentionally or not. Poor Till is hanged at the end of his Strauss tone poem (I must look up what he's supposed to have done to deserve it - maybe he spoke out about politics...). The Four Last Songs are, well, the four last songs, ending implicitly with the souls of Richard and Pauline rising towards heaven in the form of larks; and Elgar, in his Symphony No.1, takes an eloquent "idée fixe" melody with regular, walking-type accompaniment and then, to use a modern-day trendy word, 'disrupts' it in almost every way conceivable in England in 1908. It was hard not to read the second movement as a macabre, scherzoid battle scene. The final pages, in which the theme returns surrounded by a great musical firework display, seemed simultaneously a celebration and a fearfully pertinent farewell to a vanishing era.

Rehearsal in Snape Maltings
Renée Fleming's performance of the Four Last Songs, and the encores Cäcilie and Morgen, offered a raw revelation of innermost heart, at times almost spoken more than sung; however quiet she goes, her voice still shimmers through the music fabric as only hers can, drawing us in towards her and softly wringing us out. Explaining the encores, she noted that the two they had chosen were early works dating from around the time of Strauss's marriage, and adding: "I just want to say: thank God he married a soprano..."

Any awkward moments?
If so, very few and well masked. 

Good podium manner?
Splendid. Gardner is debonair, extrovert, charismatic, with plenty of audience appeal. For the orchestra, one has the impression he seems clear, positive and cogent, wearing his expertise lightly.

Best things about the meeting?
The freshness of it. Imagine a spouse who is used to - and loves - long, deep, intense conversations, in which each word is controlled with immense precision and the underlying philosophy must be considered at every moment...suddenly taking a walk with someone who laces up his boots, links his arm through hers and points out the dramas among passers by, the green parrots flying about and the sun sparkling on the water and says "great, so what do you want for lunch?"

Gardner is a splendid storyteller, pacing the narrative and sustaining tension over long expanses of music with vivid colour and detail around a rock-solid core. 

In addition, it was a massive treat to hear the home band in the Aldeburgh acoustic, which is warm and flattering, bloomy and gorgeous.

Would you send your friends to hear them?
Heavens, yes.

Describe the meeting in three words.
Energetic, inspiring, promising.

What do you think they made of each other?
Very different from one another, but they seemed keen to adapt, to find common ground and to, er, make beautiful music together.

Might they go on somewhere?
They might. We'll have to see.

And...did they kiss?
Definitely having a good old flirt. 

If you could change one thing about the evening, what would it be?
Distance. It's a long way to Aldeburgh and we didn't get home til nearly 2am. 

Marks out of 10?
Eight.

Might they meet again?
I reckon so.


Friday, February 03, 2017

Welcome to Kaufmann Central!



He's back. Presented the other day with the Special 'Victoires de la mystique classique' Award in France, Jonas Kaufmann sang Rota's 'Parla più piano' (aka The Godfather) at the ceremony. This was it.

Now is the winter when my discount tent is pitched on the concrete outside the Barbican Centre. In these grim times we need something to look forward to, and if you happen to be a "Kaufmaniac" the ultimate thing to look forward to is about to happen, right here in sunny London.

Jonas Kaufmann is presented with the Special 'Victories de la musique classique' award in Paris. Photo: Edouard Brane

'Der Jonas' is coming to town for The Kaufmann Residency at the Barbican Centre. Between tomorrow (4 Feb) and Monday week (13th) he is giving three concerts and an open interview. Some of his fans here have been nail-biting a little over the past months while he has been off, recovering from what was apparently a hematoma on a vocal cord. The pessimists among us wondered if the residency would actually go ahead.

The other week, though, Kaufmann made a triumphant return to the stage in Paris as Lohengrin, and there's no sign of fading ambition. A new recording is coming out shortly (UK release in April), in which he sings the whole of Mahler's Das Lied von der Erde. And in case you haven't heard, news is out that a concert performance of Tristan Act II is planned for New York in April 2018. One hopes that may indicate the ultimate Wagner tenor role sidling gently into the repertoire...

He gave an interview to Paris Match talking about his return to the stage, saying that everything is going rather well.

Vous dites avoir eu encore des soucis de santé. Comment allez-vous ?
Je vais très bien maintenant, ma voix aussi. On a déjà fait des répétitions, tout est impeccable, grâce au temps de repos imposé. Mais ça a été un moment difficile à passer pour moi, d’autant que je ne suis pas quelqu’un de très patient. J’aime vraiment agir, prendre tout en main. Et j’étais là à attendre, sans avoir la possibilité d’accélérer les choses. Personne ne pouvait me dire si ça durerait deux semaines, un mois, deux mois… En quatre mois, l’hématome s’est résorbé. Tout est redevenu normal, les conditions sont donc idéales. Ce n’était pas mon premier choix de recommencer avec “Lohengrin”, même si j’ai déjà tenu le rôle plusieurs fois. Je connais cette production que j’aime beaucoup. Avec cette orchestration de Philippe [Jordan], j’étais sûr qu’il n’y aurait pas de risque. Donc, je suis très content.

Anyway, back to London. Here's what's happening. Everything is sold out, but do try for returns.

4 Feb: Recital with pianist Helmut Deutsch

Schumann Kerner Lieder, Op 35
Duparc
‘L´invitation au voyage’ 
‘Phidylé’ 
‘Le manoir de Rosemonde’ 
‘Chanson triste’ 
‘La vie antérieure’
Britten Seven Sonnets of Michelangelo, Op 22


8 Feb: Wagner

Wagner Prelude to Tristan und Isolde
Wesendock 
Lieder
Act I from Die WalküreJonas Kaufmann tenor
London Symphony Orchestra
Sir Antonio Pappano 
conductor
Karita Mattila soprano
Eric Halfvarson bass


10 Feb, 2pm, Milton Court: In Conversation

Jonas Kaufmann in conversation with young singers at Milton Court. 

Jonas Kaufmann talks to and works with aspiring singers from the Guildhall School of Music and Drama: an unprecedented chance to witness a master-musician discussing the practicalities and fundamentals of his craft in the informal atmosphere of Milton Court.


13 Feb: Strauss, Elgar, Korngold

The Four Last Songs. Yes, they're originally for soprano. Yes, that's just fine. And yes, the programme opens with Korngold's Schuaspiel Overture, which I have never before heard live and certainly not in London, and this requires its own pre-breakfast celebratory somersault.

Korngold Schauspiel OvertureStrauss Symphonic Interlude from Intermezzo, Träumerei am Kamin
Strauss
‘Ruhe meine Seele’
‘Freundliche Vision’ 
‘Befreit’ 
‘Heimliche Aufforderung’
Elgar In the SouthStrauss Four Last SongsJonas Kaufmann tenor
BBC Symphony Orchestra

I am intending to go to the whole lot. For the duration, JDCMB is becoming KAUFMANN CENTRAL. I'll be reviewing the performances, reporting on the conversation and keeping the Kaufmaniacs up to speed on how it's all going. Yes, it's escapism. Yes, I need that and so do a lot of us.