King's Place Photo and here more details about the design :-)
I left things half way through the last week and now I am running behind again! (ie both Cosi fan tutte and Konigskinder have happened since then… but first things first as I am determined to try and capture everything in the right order! Besides, there is no chance I could forget any of these two anytime soon, so no worries there.
I mentioned that I had been to two evenings of song during the same week, years and years and years apart : from pieces written mostly between the two world wars to canzone written some 300 years ago.
In song in general I am on a very “hungry” discovery route, trying out many things that come my way. In a way if well done they are easier to relate to and allow instant focus and intimate connection at the same time. In an opera all your senses are called upon and you have to take in so many elements at the same time! It’s not exactly hard work to sit and listen, but it does require a lot of energy, which sometimes you physically just don’t have. In those cases I find it’s easier to seek refuge in song, it’s more delicate and in a way more generous, it gives more than it asks of you. In a way it creates that kind of a personal space and dialogue that you can find nowhere else in music. It is like reading a good book, like looking at a painting, or a photograph on your own, like speaking to a good friend.
In an opera you can choose what to listen to or what to look at or on which level to get involved. There is not much of a choice when only one person and one instrument are singing to you, you either listen or you go away. And I personally love to listen to stories, thoughts and feelings put to rime (or not) and music. I’ll always disagree with those who think this is an occasion to explore how exquisite a certain note can be sung , If that is all what it is, then I would rather watch and listen to a singer warm up their voice, its bound to reveal more interesting things about vocal technique.;-) Personally, I’d rather see the song as an occasion to discover a story , “hand in hand” with the singer. I’d like them to tell us what the poem means to them and see if I can follow along the same path. The times I liked it most, it was so vivid that i could almost see the images appearing in my mind.
Weimar VoicesDate: Wednesday 27 January
Time: 19:30
Part of From Vienna to Weimar
Christian Immler baritone
Helmut Deutsch piano
Programme
Schreker
Das feurige Männlein
Und wie mag die Liebe
Gál - Five Songs op.33
Vergängliches
Der Wiesenbach
Vöglein Schwermut
Drei Prinzessinen
Abend auf dem Fluss
Goldschmidt - Two Morgenstern Songs op.27
Ein Rosenzweig
Nebelweben
Eisler - from Galgenlieder (Gallows Songs)
Die zwei Wurzeln
Die beiden Trichter
Philanthropisch
Korngold - Songs of the Clown op.29
Come away death
O Mistress Mine
Adieu, Good Man Devil
Hey Robin
For the rain, it raineth every day
Krenek - from Reisebuch aus den oesterreichischen Alpen
(Travelbook from the Austrian Alps) op.62
Motiv
Regentag
Unser Wein
Zemlinsky - from Twelve Songs op.27
Der Wind des Herbstes
Regenzeit
Gib ein Lied mir wieder
Afrikanischer Tanz
Eisler - from Book of Ballades op.18
Ballade von der Krüppelgarde
Ballade vom Nigger Jim
Grosz - from Bänkel und Balladen op.31
Die Ballade vom Sammy Lee
http://www.auroraorchestra.com/
I mentioned that I had been to two evenings of song during the same week, years and years and years apart : from pieces written mostly between the two world wars to canzone written some 300 years ago.
In song in general I am on a very “hungry” discovery route, trying out many things that come my way. In a way if well done they are easier to relate to and allow instant focus and intimate connection at the same time. In an opera all your senses are called upon and you have to take in so many elements at the same time! It’s not exactly hard work to sit and listen, but it does require a lot of energy, which sometimes you physically just don’t have. In those cases I find it’s easier to seek refuge in song, it’s more delicate and in a way more generous, it gives more than it asks of you. In a way it creates that kind of a personal space and dialogue that you can find nowhere else in music. It is like reading a good book, like looking at a painting, or a photograph on your own, like speaking to a good friend.
In an opera you can choose what to listen to or what to look at or on which level to get involved. There is not much of a choice when only one person and one instrument are singing to you, you either listen or you go away. And I personally love to listen to stories, thoughts and feelings put to rime (or not) and music. I’ll always disagree with those who think this is an occasion to explore how exquisite a certain note can be sung , If that is all what it is, then I would rather watch and listen to a singer warm up their voice, its bound to reveal more interesting things about vocal technique.;-) Personally, I’d rather see the song as an occasion to discover a story , “hand in hand” with the singer. I’d like them to tell us what the poem means to them and see if I can follow along the same path. The times I liked it most, it was so vivid that i could almost see the images appearing in my mind.
Weimar VoicesDate: Wednesday 27 January
Time: 19:30
Part of From Vienna to Weimar
Christian Immler baritone
Helmut Deutsch piano
Programme
Schreker
Das feurige Männlein
Und wie mag die Liebe
Gál - Five Songs op.33
Vergängliches
Der Wiesenbach
Vöglein Schwermut
Drei Prinzessinen
Abend auf dem Fluss
Goldschmidt - Two Morgenstern Songs op.27
Ein Rosenzweig
Nebelweben
Eisler - from Galgenlieder (Gallows Songs)
Die zwei Wurzeln
Die beiden Trichter
Philanthropisch
Korngold - Songs of the Clown op.29
Come away death
O Mistress Mine
Adieu, Good Man Devil
Hey Robin
For the rain, it raineth every day
Krenek - from Reisebuch aus den oesterreichischen Alpen
(Travelbook from the Austrian Alps) op.62
Motiv
Regentag
Unser Wein
Zemlinsky - from Twelve Songs op.27
Der Wind des Herbstes
Regenzeit
Gib ein Lied mir wieder
Afrikanischer Tanz
Eisler - from Book of Ballades op.18
Ballade von der Krüppelgarde
Ballade vom Nigger Jim
Grosz - from Bänkel und Balladen op.31
Die Ballade vom Sammy Lee
http://www.auroraorchestra.com/
The evening with Christian Immler and Helmut Deutsch at King’s Place had a totally novelty effect. The hall, which I am guessing is one of the smaller ones in the centre, is beautiful and provided with its set up hat extra “pleasing” bit. It must be quite new and not too frequently used, for the wood that covers all surfaces still had that freshly cut smell. Not the chemical cover smell, but the natural one of logs that have just been split from the tree. Just like the perfume of new paper of an unopened book, it’s instantly recognisable and comforting. The lighting was almost seductive in a shady tone of violet and it obscured us the public almost completely while focusing the light on the stage. Probably a bit unusual for a liederabend as I guess it totally obscured us to the singer and pianist. Adding I guess an extra element of discomfort, above the fact that there were barely 20 of us in the hall, none of us having heard any of the pieces before and both artist and pianist never having performed any of the songs before. Add to that the fact that most texts were in German; we were provided with a nicely printed translation in quality paper, that unfortunately proved a pain to flick and made quite some noise. Looked like quite a challenge in terms of text, which I guess only made some members of the audience more suspicious about the musical “delights” on offer. I expect with all their curiosity, most expected their ears to be put through at least some discomfort ;-)
The evening started and things settled very quickly from weary attention to relaxed enjoyment! It became evident that the artists had done quite a bit of homework and were more than up to the challenge. From the very first piece the harmony between the two was natural and the interpretation refined enough to easily cross the language barrier. I have to say I haven’t read the translation and with Immler’s diction being very good I quickly put away the chunky papers myself. But it must have been a good translation, as smiles, puffs and other reactions came spot on at the right times during the whole evening. The songs themselves carried nothing of the suspected dangers of atonality or aggression in their notes. On the contrary, they were playful and flowed elegantly, texts were engaging and the dialogue between the lyrics and notes, more vivid than in classical repertoire. Where the music was recognisably romantic, the text broke down the known framework by mocking he notes and vice-versa. Throughout the program lyrics and score, singer and pianist engaged in ironic play and often very alert bickering.
Here are for you some highlights of the evening, showing in abundance I think why it was so worth experiencing!!
Eisler:
Korngold:
It just proved that songs can be enjoyed a bit less reverently and that we are allowed to have fun with it as well. And what pleasure to discover Helmut Deutsch accompanying not only with delicacy and empathy as always, but also with impressive pizhaz!
Dankeschon to both!! And when can we do this again????
The evening started and things settled very quickly from weary attention to relaxed enjoyment! It became evident that the artists had done quite a bit of homework and were more than up to the challenge. From the very first piece the harmony between the two was natural and the interpretation refined enough to easily cross the language barrier. I have to say I haven’t read the translation and with Immler’s diction being very good I quickly put away the chunky papers myself. But it must have been a good translation, as smiles, puffs and other reactions came spot on at the right times during the whole evening. The songs themselves carried nothing of the suspected dangers of atonality or aggression in their notes. On the contrary, they were playful and flowed elegantly, texts were engaging and the dialogue between the lyrics and notes, more vivid than in classical repertoire. Where the music was recognisably romantic, the text broke down the known framework by mocking he notes and vice-versa. Throughout the program lyrics and score, singer and pianist engaged in ironic play and often very alert bickering.
Here are for you some highlights of the evening, showing in abundance I think why it was so worth experiencing!!
Eisler:
Korngold:
It just proved that songs can be enjoyed a bit less reverently and that we are allowed to have fun with it as well. And what pleasure to discover Helmut Deutsch accompanying not only with delicacy and empathy as always, but also with impressive pizhaz!
Dankeschon to both!! And when can we do this again????
..................
Two days later it was back to the more familiar grounds of the Wigmore Hall for an evening of canzone d’amore with an equally well matched musical “couple”. Joyce DiDonato and David Zobel gift us time and time again with wonderful recitals at he Wigmore and I hope they will keep coming to visit. Whether you are familiar with the repertory or not (more likely to be my case with Joyce’s picks ;-)) you will always leave there amazed at DiDonato’s and Zobel’s commitment to what they do. You just know beyond a shadow of a doubt that each note, each word has been thought of, worked on and will be delivered to the highest of their abilities.
Thursday 28 January 2010 - 7:30 PM
Performers
Joyce DiDonato mezzo-soprano
David Zobel piano
Programme
Durante Danza, danza, fanciulla gentile
Pergolesi Se tu m'ami
Caccini Amarilli mia bella
Rossi Mio ben, teco il tormento
Paisiello Nel cor piu non mi sento
Rontani Or ch'io non sequo più
Beethoven
Hoffnung Op. 82 No. 1
Liebes-Klage Op. 82 No. 2
L’amante impatiente Op. 82 No. 3
L’amante impatiente Op. 82 No. 4
La partenza WoO124
Rossini Willow Song from 'Otello'
Encore Rossini , Maometto Secondo, “Giusto ciel”
Santoliquido
L'assiolo canta
Alba di luna sul bosco
Tristezza crepuscolare
L'incontro
Pizzetti Ocsuro è il ciel
Toselli Serentata
Donaudy O del mio amato bene
Castelnuovo-Tedesco
La Pastorella
Ballatella
Buzzi-Peccia Lolita, Serenata Spagnola
Leoncavallo Serenata Francese
Giuranna Canto Arabo
Di Chiara La Spagnola
Encore:
Mozart, Nozze, “Voi che sapete”
Rossini, La donna del lago, “Tanti affetti”
Thursday 28 January 2010 - 7:30 PM
Performers
Joyce DiDonato mezzo-soprano
David Zobel piano
Programme
Durante Danza, danza, fanciulla gentile
Pergolesi Se tu m'ami
Caccini Amarilli mia bella
Rossi Mio ben, teco il tormento
Paisiello Nel cor piu non mi sento
Rontani Or ch'io non sequo più
Beethoven
Hoffnung Op. 82 No. 1
Liebes-Klage Op. 82 No. 2
L’amante impatiente Op. 82 No. 3
L’amante impatiente Op. 82 No. 4
La partenza WoO124
Rossini Willow Song from 'Otello'
Encore Rossini , Maometto Secondo, “Giusto ciel”
Santoliquido
L'assiolo canta
Alba di luna sul bosco
Tristezza crepuscolare
L'incontro
Pizzetti Ocsuro è il ciel
Toselli Serentata
Donaudy O del mio amato bene
Castelnuovo-Tedesco
La Pastorella
Ballatella
Buzzi-Peccia Lolita, Serenata Spagnola
Leoncavallo Serenata Francese
Giuranna Canto Arabo
Di Chiara La Spagnola
Encore:
Mozart, Nozze, “Voi che sapete”
Rossini, La donna del lago, “Tanti affetti”
Even if you will not become an big fan of the night’s songs you will always be awed by what she can do. Or at least I’d love to hear her, even if she was singing the phone book up and down! And even I will admit that “Amarilli mia bella” or the Beethoven are much better choices;-))) Actually, I really liked the little Beethoven cycle. But deep down I am more of an 18t- century-onwards kind of girl, so it is rather a good thing I didn’t live in the times these little pieces were used to serenade the ladies….. Few of these would have managed to wake me and entice me onto a balcony and further on I’m afraid ;-)) Overall I liked Furore more I think (God, I am actually saying I like Handel… somebody pinch me!! Fast!!!!)… or more accurately, I like Joyce’s Handel more. But Joyce is an amazingly generous artist! It will never be a 6-8 piece night with her and often her encores are even better than the rest of the program. And if I like her Handel, her Rossini and Mozart I am undyingly in love with!!! As you can see 3 altogether, one more beautiful than the other! Just listen to La donna del lago:
La donna del lago:
What I like about her encores is that they are always so characteristic of who she is as an artist and come alive like they do with few other singers singing the same pieces. So this night, like the last one when I heard her sing made me look forward to the next and the one after that and so on…. And also made me hope that one day I’ll be lucky enough to hear her sing again the one piece that will always remind me of the first time I heard her live , a song that was so “Joyce” .. “The man I love” :-)
