Copenhagen: Herbert Blomstedt with Ein Deutsches Requiem

Ein Deutsches Requiem. Copenhagen Concert Hall. June 9th 2012. Conductor: Herbert Blomstedt with the Danish National Symphony Orchestra and Radiokoret. Soloists: Camilla Tilling (soprano), Peter Mattei (baryton).

84-year old Herbert Blomstedt was chief conductor of the Danish National Symphony Orchestra between 1967-77 and his continued annual visits are always major events, as he is immensely popular with the orchestra. Often, as today, this popularity translates into great playing and this was simply a wonderful afternoon in a sold-out DR Concert Hall.

Blomstedt´s Brahms is dense as well as straightforward, conducte, of course, without the score as this is his core repertoire. The climaxes with the choir was simply magnificant, and I don´t remember when I have heard a better, or even a performance of the same level, from the orchestra.

Peter Mattei has a wonderful straight deliveryt, while Camilla Tilling never quite got to glow.

When Blomsted took over the orchestra it was semi-professional (if not necessarily on paper, then in sound) and he, if any, initiated the development into an orchestra performing on the international level we saw today. Ironically, the new chief conductor of the orchestra Rafael Frühbeck De Burgos is the same age as Blomstedt, his age being a major point of criticism in Danish media. Though somehow I doubt we´d heard the same complaints had Pierre Boulez been hired?

The bottom line (scale of 1-5, 3=average):

4-5

Gerald Finley Winterreise

Gerald Finley (barytone) and Julius Drake (piano): Winterreise. Bruxelles, Theatre de Monnaie. June 20th 2012.

Gerald Finley´s Winterreise is truly an emotional journey. Passing from an initial state of repressed anger to to true anger, then to madness and ultimately we see the naked grief. I don´t remember when I have heard a Winterreise with these changes of emotion presented so contrastingly as Gerald Finley does. And always without sentimentality, he started many of the songs half-turned away from the audience. However, as a performer he is far from introvert and oozes a patrician elegance which suits Schubert so well.
The voice, of course I´d almost say, is superb and fully capable of displaying every emotional state Finley desires to display.
All sensitively and dynamically accompanied by long-time recital partner Julius Drake, Winterreise do not get delivered much better than this. Lieder singing at the highest level.


Overall impression (scale of 1-5, 3=average):

5

Renée Flemings 14 minutes in Copenhagen

Renée Fleming and Christoph Eschenbach in Copenhagen

Renée Fleming with Orchestre de Paris conducted by Christoph Eschenbach. Copenhagen, May 11th, 2009. Program: Capriccio final scene and Bruckner´s 9th symphony. Extras: Zueinigung and Morgen (R. Strauss).

Upon reading that at her recent London concert, Renée Fleming was criticized for singing approximately 20 minutes, I was reminded that immediately before her visit in Copenhagen earlier this year, I wondered what the minimum "acceptable" amount of singing at a vocal concert was. In London, she apparently was on a sort of CD-promotion tour. In Copenhagen she sang from Richard Strauss´ Capriccio: 14 minutes + 2 extra orchestra songs = 20 minutes as well. But then, she arrived with the Orchestre de Paris and Christoph Eschenbach, and the Bruckner symphony was well worth a visit. For some. Though, most certainly, the ticket prices reflected on Renée Fleming´s contribution rather than Christoph Eschenbachs, as fine as it actually was.

As to Renée Flemings singing, Richard Strauss is what she does best. She thinks so herself and I don´t hesitate to agree with her. She still has that exact blooming quality in her voice I would have imagined Richard Strauss wrote this music for, combined with exquisite phrasing. And then she is a nice person as well, turning around and singing Zueiningung facing the large part of the audience with cheap tickets sitting directly behind the orchestra.

She will be back in Copenhagen in November 2010. Hopefully with more than 14 minutes. Less is hardly feasible, I suppose.

The bottom line:

4

The Anna Netrebko show hits Copenhagen

Anna Netrebko and Massimo Giordano in Copenhagen. September 19th, 2009. Emmanuel Villaume conducts the Danish National Radio Symphony Orchestra.

As part of a minor tour, Anna Netrebko and Massimor Giordano visited Copenhagen, complete with pre-printed programme. Netrebko´s first-ever visit in Copenhagen.

The exact happenings of the concert is described in detail here, suffice to say that this was an Anna Netrebko show, in the best sense of the word. Yes, and Massimo Giordano was also there, and he made a great contribution, both with fine individual singing and as a convincing partner to Anna Netrebko. However, most people had bought their exorbitantly priced tickets expecting a solo Anna Netrebko concert as Massimo Giordani was only listed at a later point. However, these things hardly mattered as both were rather entertaining on stage, jumping in and out, Anna Netrebko trying to play the harp etc. And, being Anna Netrebko´s birthday, the orchestra played her a birthday song and champagne was opened.

On top of this, she was in fine voice as well, which seems to get bigger and bigger. No, she may not always be exactly on pitch, and no, I really am not to bothered with it, as she has a direct expression to her singing which is rather extraordinary. That said, I still do not think Lucia di Lammermoor shows her at what I imagine would be her best. Nor does the operetta excerpt. But as Tatiana (Eugene Onegin) I would imagine her to excel.

An Anna Netrebko show for the people. In the best meaning of the word.

Overall impression:

5


Program:

Gounod: Overture from Roméo et Juliette
"Va! Je t´ai pardonné... Nuit d'hyménée" from Roméo et Juliette, Netrebko/Giordano
Verdi: Overture from Nabucco
Donizetti: "Regnava nel silenzio" from Lucia di Lammermoor, Anna Netrebko
Donizetti: "Una furtiva lagrima" from "L´Elisir d´Amore", Massimo Giordano
Donizetti: "Caro elisir!" from L'Elisir d'Amore",Netrebko/Giordano

Intemission

Arditi: "Il bacio", Anna Netrebko
Tosti: "L'alba separa dalla luce l'ombra", Massimo Giordano
Tchaikovsky: "Polonaise" from Eugene Onegin
Piotr I. Tchaikovsky: "Kuda, Kuda" from Eugene Onegine, Massimo Giordano
Dvorak: "Song to the moon" from Rusalka, Anna Netrebko
Puccini: "Intermezzo" from Manon Lescaut
Puccini: "Che gelida manina" from La Bohème, Massimo Giordano
Puccini: "Si, mi chiamamo Mimi" from La Bohème, Anna Netrebko
Puccini: "O soave fanciulla" from La Bohème, Netrebko/Giordano

Extras
Franz Lehar: "Meine Lippen, sie küssen so heiss", Anna Netrebko
"Core'ngrato", Massimo Giordano
"Brindisi" from La Traviata, Anna Netrebko and Massimo Giordano

Jonas Kaufmann liederabend: Unforgettable

Jonas Kaufmann, tenor. Helmut Deutsch, piano. Glyptoteket, Copenhagen. May 8th 2008.

This liederabend in the context of the series of Helge Jacobsen concerts marked German tenor Jonas Kaufmann´s first performance in Denmark, which took place in the intimate venue all of the New Carlsberg Glypotek.

Jonas Kaufmann is naturally confindent and authoritative on stage. He clearly commands the language, emphasizing expression over beauty, telling the stories, not just singing the songs. Vocally, he has never been better. A dark tenor, but fully in command of the high registers, often sung in piano or with added sprechgesang when required.

As an interpretist, Jonas Kaufmann is of the straight-forward as opposed to the wringing-sentimental type. And thanks for that. Not that he does not add to or give of himself in this selection of songs starting out with Schuberts rather long drama "Die Bürgschaft" to be followed by a completely superb Dichterliebe. Superbly suited to Richard Strauss´songs, already proven on his earlier (read: before he became famous) highly acclaimed disc of Richard Strauss lieder, he delievered completely smashing interpretations, culminating with Cäcilie. Can these songs be performed better? I really do not think so.

Malicious voices have it that Jonas Kaufmann is about looks rather than substance. Do not believe them. He has everything. Is Jonas Kaufmann not the preeminent tenor on stage today? Does these things matter? Of course they don´t. But really he is.

My only quibbles on this rather superb evening included free drinks in the New Carlsberg wintergarden are directed towards a couple of practical issues, such as having the audience loudly scrabbling through endless pages of text and the omission of the world-class accompanist Helmut Deutsch from the programme. Who by the way with his incisive playing was a major contributor to this rather unforgettable evening, which I believe will be one of the performances I will tell my grandchildren about 50 years from now: When I heard the great Jonas Kaufmann in his absolute prime. And they will answer: Ah, but why are there no tenors around like him today?

And why was this concert not sold out? Well, perhaps because it was hardly advertised anywhere? However, already now rumours has it Jonas Kaufmann will be back in Copenhagen in 2010. Do not miss it.

Programme:

Schubert: Die Bürgschaft
Schumann: Dichterliebe

Intermission

Richard Strauss:
Fünf lieder op. 21:
All mein Gedanken..
Du mein herzens krönelein
Ach Lieb, ich muss nun scheiden
Ach weh mir unglückhaften Mann
Die Frauen sind oft fromm un still

Vier ausgewählte lieder:
Sehnsucht
Nachtgang
Freundliche Vision
Ich liebe dich

Vier lieder op. 27:
Heimliche aufforderung
Ruhe meine Seele
Morgen
Cäcilie

The bottom line (scale of 1-5, 3=average):

6

Copenhagen: Anna Larsson shines in Das lied von der Erde

Photo from a concert in New York with Boulez and the Lucerne Orchestra

Das lied von der Erde. Copenhagen, November 28th, 2008. Soloists: Anna Larsson and Robert Dean Smith. Thomas Dausgaard conducts the Danish Radio Symphony Orchestra. Details here.

With tears streaming down her cheeks, Swedish contralto Anna Larsson proved why she probably is the finest Mahler contralto on stage today in this Copenhagen performance of Das lied von der Erde with American tenor Robert Dean Smith and Thomas Dausgaard conducting the Danis Radio SO.

Anna Larsson really sounds like a genuinely contralto and not just a deep mezzo. She has a beautiful voice, even throughout the entire register, but with a fascinating power in the lower-lying sections. Quiet and unassuming in appearance, she achieves everything with her voice in a refreshingly unsentimental interpretation, perhaps the reason why she was entirely compelling. Apart from Mahler, Anna Larsson is virtually first-choice as Erda today, with upcoming performances in both Vienna, Valencia and Aix-en-Provence.

Though the power of Anna Larsson singing left Robert Dean Smith somewhere in the middle, not many tenors may be able to match his performance today, if any at all.

The occasion was in fact a farewell concert to the Danish Radio Orchestra Hall, which moves into a new Concert Hall January 2009. Perhaps a bit too highly strung repertoire choice for that, after all, its one institution moving to another, hardly an occasion for pathos. Furthermore, the second half of the concert consisted of Haydns Farewell Symphony, a decidedly stange companion to the Mahler.

Overall impression:

Anna Larsson: 5
Robert Dean Smith: 5

Thomas Dausgaards orchestra: 4

Overall impression: 5

Bryn Terfel in Copenhagen

Bryn Terfel, Tivoli Gardens, Copenhagen. Copenhagen Philharmonic Orchestra conducted by Gareth Jones. October 21th 2008.


Bryn Terfel´s fist-ever visit to Copenhagen (and second-ever to Denmark) was the first installment of a small Scandinavian Tour, bringing him to Stockholm, Oslo, Gothenburg and Trondheim within the next couple of months. “I have taken this year off from opera, which is why I have the opportunity to perform here tonight” he announced from the stage [!].

On this tour Bryn Terfel is joined by two Welsh artists, conductor Gareth Jones and harpist Catrin Finch. Terfel appeared the consummate professional with a top-tuned program showing off his greatest strengths as expected, as well as his greatest weaknesses (less expected).

First of all Bryn Terfel is a superb performer. He is a superb physical as well as vocal comedian. He has superb sense of characterization and a virtually immaculate diction. He has star quality in spades as well as plenty of the indefinable likeability factor. He simply appears genuinely sympathetic as well as down to earth in a charismatic way. All to a degree that you´d almost not believe anybody to be so insolent as to accuse this man of unprofessionalism…
Looking at the glossy premade Scandinavian Touring programmes in English (sold for 8 Euros) stating that “Bryn is pleased to have an association with several companies, most notably Rolex, Clogau Gold and Penderyn Distillery” made this feeling disappear, though.

There is no doubt that Bryn Terfel is firmly rooted in his native Wales, and luckily the traditional music of Wales has an allure sufficient to warrant an entire solo-album as well as half a section of a concert. Though apparently not quite half a section, as Welsh traditionals were spiced up with Granada (I suppose if Rolando Villazón can, why not Bryn Terfel?) and Irish as well as Scottish traditionals..

I´ll admit that singing along to Molly Malone is not my favourite pastime, though the audience in general, including a hard-core bunch of Welsh fans sitting right behind me, seemed to love it all, including the flirtatious remarks aimed to charm ladies in their 50´s without offending their husbands (the majority of the audience).

A calculated attempt to make easy money or a genuine wish to champion the music of his native country (as well as to promote young Welsh artists such as harpist Catrin Finch)? An unanswerable question as well as ultimately an unimportant one. Either you are entertained or you are not, Bryn Terfel´s personal considerations apart. And who can blame him for wanting to make money, while he can? And, by the way, he was entertaining. But also a bit too calculated.

Obviously nobody paid these top tickets prices to hear the young harpist Catrin Finch. However, the pieces she played seemed to substitute for the usual routine performances of routine operatic orchestral interludes, in which case she provided a rather welcome departure from the norm.

However, I am puzzled as to why Bryn Terfel chose to open and close the first section of the concert with three arias showing him at his weakest: Iago´s Credo from Otello (a role he has not performed on stage) and the Faust Méphistophéles Serenade and Veau D´Or. It was quite evident that he simply does not have the required support in his middle voice for these dramatic parts. Already at the D´Or in the first line Le Veau D´Or he was in trouble.
Bryn Terfel´s voice doesn´t have the steely projection of a dramatic bassbarytone. And technically he simply doesn´t seem to control the outerlying segments of his voice upon applying pressure.
His most unfortunate, in my opinion, artistical decision to play Méphistophéles as a comedian resulting in widespread laughter during both the Serenade and the Veau D´Or just seemed to underscore my point. I am sure the audience would have responded at least as enthusiastically had he chosen to sing Mozart or something more suitable to show off his considerable strengths.

Like Wolfram´s song to the Evening Star (Tannhäuser), where he was simply superb floating some of the most exquisite pianissimos I have yet heard. Or his famous characterization of Falstaff, probably his best part.

This is Bryn Terfel´s true fach: A lyrical bassbarytone and a comedian with character in spades. Also demonstrated in the second half of the program, superbly performed, though admittedly less to my taste. According to recent interviews, Bryn Terfel looks at his future and sees a line-up of heavy Wagnerian bass-barytone parts such as Wotan, Hans Sachs and Flying Dutchman. He just seems such a nice, down to earth person. How can you not wish him good luck? I still wish he would do more Leporello´s, Figaro´s (this part he has "officially" retired), Wolfram´s and Falstaff´s.


Programme (which will be repeated throughout the Scandinavian Tour):

Nabucco ouverture
”Credo” – Otello
"Ehi! Paggio! L´onore! Ladri!” – Falstaff

Debussy: ”Danse Sacreée et profane” with Catrin Finch
”Wie todesahnung---O du mein holden Abenstern” – Tannhäuser
Eugene Onegin polonaise
”Vous qui faites l´endormie” – Méphistophéles´ Serenade from Faust
”Le Veau D´Or” – Faust

Intermission

Granada“Carneval de Venice” – Catrin Finch
Welsh Traditional – Bryn Terfel/Catrin Finch
Loch Lomond and Molly Malone – Bryn Terfel
Candide ouverture.
”How to handle a woman” – Camelot
”You´ll never walk alone” – Carousel

Extra: A Welsh traditional (Bryn Terfel) plus a harp-solo (Catrin Finch)

The bottom line (scale of 1-5, 3=average):

Overall impression: 4

Mesmerizing Maurizio Pollini recital in Tivoli, Copenhagen

Maurizio Pollini, piano. Tivoli Gardens, Copenhagen. September 14th 2008.

I may as well make my position clear from the start: Maurizio Pollini is quite simply the greatest pianist alive.

Last year I was lucky enough to get a free ticket to his all-Chopin recital in Salzburg. This year I missed his Salzburg recital by one day, chosing to attend the Bayreuth Parsifal instead. Which, of course, was a mistake. In the Copenhagen Tivoli Gardens Pollini played Beethoven and Liszt (programme below). Maurizio Pollini has a reputation for turning out performances of widely varying quality, though when everything clicks, as it did here, it is a truly revelatory experience.

It has repeatedly been brought forward, also in the Tivoli programme notes, that Maurizio Pollini shares his concert fees 50-50 with his piano tuner. Really? 50-50? That must be one billionaire piano tuner..

From the start it was clear thatPollini was top-motivated. And the handful of wrong right-hand notes in The Tempest strangely enough only underscored how superb he was. The Appassionata was staggering. I have never heard such powerful Beethoven, on CD or live. That is, powerful without ever loosing grip of the underlying structure of the music, emphasizing the contrapunctual structures. It is simply grandiose. I was rather suprised, though, at how much he uses the pedal, especially in The tempest to make almost atonal harmonies.

There is nothing cold about Pollini´s interpretations. Luckily, there is nothing sentimental about him either. He simply swipes away all the dust from whatever pieces he is playing so only the core remains. I´ve always discarded Chopin as a sentimental composer. Until I one day stumbled upon Maurizio Pollini´s recording of some of the Ballades. In Copenhagen, he only played Chopin in the encores, with a shattering performance of The Revolutionary Study, an encore he also played last year in Salzburg.

Maurizio Pollini simply has a piano technique to die for. In a way it´s rather encouraging that this 65-year old is still able to play all the 20-something piano miracles under the table. Not only because he is a superior interpreter. But his core qualifications - i.e. the technique - is better as well. I´ve never heard so perfectly smooth runs as the ones he made in the Appassionata. Though technical virtuosity has never been a goal for him, just a necessary means to convey the deeper meaning of the music. It´s one of his most distinctive qualities, that he just seems to know how a piano works. If Pollini would ever performe the complete Beethoven sonatas in 1-2 weeks it would be worth travelling across the world to hear (unfortunately he won´t do that ).

I would think someone who plays the piano like this would be a superb conductor. Perhaps he is ultimately not extrovert enough to conduct. But then, Carlos Kleiber, not exactly famous for his informative interviews, seemed to do just fine...

Rather unusual for Danish audiences, he was greeted with immediate standing ovations after the Liszt sonata.

Absolutely mesmerizing. One of the handful of best performances I have ever attended. I even forgot to take photographs...

Programme:

Beethoven: Sonata opus 31 no 2, "The tempest"
Beethoven: Sonate opus 57, f-minor, “Appassionata”
Liszt: Nuages gris
Liszt: Unstern
Liszt: La lugubre gondola – 1st version
Liszt: R.W. – Venezia
Liszt: Sonate, b-minor

Extras:
Chopin: Prelude (forgot which)
Chopin: Revolutionary Study
Liszt: Trandenscental study no. 10

Overall impression (scale of 1-5, 3=average):

6

René Pape with Wotan and Hans Sachs in superb performance

René Pape and the NDR Sinfonieorchester conducted by Alan Gilbert.
Lübeck Musik- und Kongresshalle. August 30th 2008.

Programme:

Wagner: Meistersinger ouverture
Flieder-monologue (Hans Sachs from Meistersinger)
Prelude to Walkure Act 3
Wotan´s Farewell (Leb wohl.., Walküre Act 3)
Gustav Mahler: Sinfonie Nr. 5 cis-Moll

This was German bass René Pape´s second public try-out with excerpts from Walküre and Meistersinger, the first one dating from Munich last year with Christian Thielemann, which is scheduled for CD release at some (as of now: Undefined) point. To compare these performances is however not possible, as Christian Thielemann drowned René Pape in Munich, a success he followed up with Renée Fleming this year.

First of all, I have never seen René Pape look this nervous on stage and he was nothing of his usual laconic self, in a way good to see. And after one minutes playing by the orchestra, it was clear why. He had no support whatsoever from the rather mediocre conductor, who completely lacked authority on the podium and producing a very muddled sound.
There is no doubt René Pape learned these pieces thoroughly or he wouldn´t have been able to make the right entrances at all. René Pape´s strategy apparently was to ignore the conductor completely without looking at him even once, just sing the way he wanted and then leave it to the conductor to pick up what was left. I don´t see what else he could have done, however I´d like to see him try that approach with Daniel Barenboim.

And who is Alan Gilbert? As most will know, but I had temporarily forgotten, he is in fact the upcoming musical director of the New York Philharmonics. A man with “that indefinable leadership quality that you look for.” But chose not to display here, obviously.

To the point: René Pape´s Wotan is beyond superb, both vocally and dramatically. I have no doubt that he will not be equalled in my lifetime. He is not even under real pressure in the top register, where he still manages piano notes and portamento. Furthermore, René Pape´s vocal range equals that of Hans Hotter - he has lost much of the power in the bottom notes over the past 5-6 years, though how he will do in the overall higher tessitura, remains to be seen, obviously.
Interpretatively, I would be more sceptical, if I hadn´t seen what emtionally staggerging performances he can pull off when he wants to, such as as Boris Godunov and Filippo (Don Carlo).

René Pape "Leb Wohl" (Wotan´s Abschied from Walkure):

Hans Sachs he, of course, can sing and more beautiful than anyone else I have heard. But why exactly does René Pape want to play a middle-aged cobbler, who steps away from life and leaves the living to others? It´s not obvious to me that this part suits him dramatically at all. And it has never made sense for me why he would schedule Hans Sachs so close to the Wotans, before he knows how this bass-barytone thing moves along. So it wasn´t really a surprise that he canceled his Berlin Hans Sachs appearances well in advance and now waits with Hans Sachs until "after the Wotans". My guess would be 2013+, the right decision, in case anyone should care to know my opinion.

René Pape with the Fliedermonologue (Hans Sachs from Meistersinger):

And Mahler´s 5th? I don´t know. Given the quality of orchestra playing before the intermission the choice between drinks and Mahler was rather easy. However, had I remembered, before sitting with my drink, that Alan Gilbert was upcoming NY Phil leader I probably would have stayed, just to get a better impression of his work.

The bottom line (scale of 1-5, 3=average):

5

Walküre with Daniel Barenboim and the West-Eastern Divan Ochestra at the Berlin Waldbühne

Waltraud Meier and René Pape with the West-Eastern Divan orchestra (rehearsal at the Berlin Waldbühne)

Daniel Barenboim with the West-Eastern Divan Orchestra. Waldbühne, Berlin. August 23th 2008. Instrumental soloists: Yael Kareth, Karim Said and Daniel Barenboim. Walküre soloists: Waltraud Meier (Sieglinde), René Pape (Hunding), Simon O´Neill (Siegmund).
Programme: Mozart, concert for three pianos. Walküre, Act 1.

As a follow up on my previous post on Daniel Barenboim´s ill-fated concert in Copenhagen earlier this week, I´ll temporarily skip the chronology of my Salzburg Festival postings and report briefly from yesterday evenings concert with Daniel Barenboim and the West-Eastern Divan Orchestra in Berlin.

Daniel Barenboim looked completely his usual self during this concert, in which he presented the odd coupling of Mozart´s Concert for three pianos (an opportunity to show off some talented younger pianists, I suppose, and of which I don´t have anywhing further to say) and Walküre, Act 1 (of which I have considerably more to say).

Though I genuinely admire Daniel Barenboim for his efforts with this orchesta as well as in Middle-Eastern politics, for which I hope he eventually will be rewarded the Nobel Peace Prize, he has been walking a dangerous line with the West-Easter Divan Orchestra all summer, several times on the verge of sentimentalism, something rather unusual for him.
And the idea of playing Wagner at Hitler´s Waldbühne with a mixed Arab-Israeli orchestra strikes me of something along those lines at well. At least he didn´t make any speech here, no offence intended (or if he did, we left beforehand).

On the Walküre:

The West-Eastern Divan Orchestra plays more and more like a professional symphony orchestra. That said, it was obvious, they didn´t have much experience with Wagner, especially in the string section, which is heavily emphasized in Barenboim´s interpretation as usual.

Simon O´Neill is a rather fine Siegmund, he definitely has both the voice and the notes, but for him to be a great Siegmund he needs to work on his stage appearance. Furthermore he had absolutely no stage chemistry with Waltraud Meier (not necessarily his fault).

Waltraud Meier was in excellent voice as Sieglinde and my only real complaint about her is that she seemed to wear the same unflattering dress she also wore at the Barcelona Walküre previously this season.

And lastly, a piece of entirely unsolicited advice for René Pape: Since he repeatedly complains of being unjustly compared to the German Black Basses (I do agree with him), perhaps he shouldn´t be singing Gottlob Frick´s signature role? Hunding being virtually the only role apart from Hagen where you with some right could ask for the black sound, which he simply does not have. Furthermore, black sound or not, the part is too low for him. At least he didn´t seem to have wasted his time practicing it. That said, he was in absolutely glorious voice in what was hopefully his last Hunding in Berlin.

Riccardo Muti in Salzburg: The Brahms Requiem

The Vienna Philharmonics during Monday´s concert. No applause photos for obvious reasons.

First of all: I despise sentimentalism. Which is exactly how I interpret the voice over the loudspeaker requesting the audience in both German and English to refrain from applause after this Riccardo Muti-conducted Brahms´ Requiem. Apparently on the request of Riccardo Muti and the Vienna Philharmonics to honour Herbert von Karajan. How exactly refraining from applause honours Herbert von Karajan is not entirely obvious to me, since the envisioned silence was replaced by everyone rushing for the entrance the exact minute the performance ended. As the distinguished elderly Viennese gentleman on my left side whispered: Salzburger sentimentalism at it´s worst.

What would have constituted a fitting tribute to Herbert von Karajan, in my opinion, could have been Riccardo Muti discussing briefly how he is influenced by Karajan, preferably with references to his reading of the Brahms Requiem, a cornerstone of Karajan´s output. Since this was not at all obvious from the way Riccardo Muti conducted this performance at the packed Grosses Festspielhaus in Salzburg, despite the slightly antisocial hour of 11 am with the sun baking outside.

Riccardo Muti seems to have three operatives in Brahms – forte, fortissimo and piano. First of all, he really does pull out all the stops and you are blown back in your seats by this Brahms. Which is not bad at all, as restraint comes close to sentimentalism at the top of my negative list. And Riccardo Muti surely has neither.

However, qualities such as building a tension line, attentiveness to detail, interchanging dynamics of the various instrument groups do not seem to range high on Muti´s operative list. But they are essential in a great as opposed to a fine interpreter of Brahms: We are light-years from the searing poignancy of a Klemperer. Luckily we are also light-years from the sentimental period Brahms light of several unnamed contemporary colleagues. Ultimately, however, Riccardo Muti´s Brahms does not strike me as revelatory. And if he indeed is the world´s foremost conductor, as his rather large fan-club here in Salzburg seems to believe, you may well have expected it to be, at least to a certain extent. But it was highly entertaining. Though I wonder if it may not ultimately seem superficial with repeated listening.

Genia Kühmeier and Peter Mattei were both superb. I cannot imagine the crystal-clear unsentimental and stylish performance of Genia Kühmeier to be bettered. Furthermore she looked great in a shimmering blue dress. Peter Mattei´s true baritone lies slightly too high for my taste in this part, which is hardly his fault, and his performance was first-rate.

I may well open a can of worms here, but does Riccardo Muti have the qualities of an orchestra-builder? I am not implying anything as I haven´t followed him closely enough in his entire repertoire to adequately estimate his strenghts and weaknesses. However, I wonder how the major Chicago-based newspaper reviewer next to me at the ticket counter will respond to this question. Obviously not a question to be answered based on one performance only. And Brahms may not be Riccardo Muti´s home turf.
But then if Otello isn´t, what is? Upcoming Riccardo Muti in Salzburg: Otello on Thursday and Zauberflöte on Friday.

Brahms: Ein deutsches Requiem. Grosses Festspielhaus, Salzburg. Monday, August 18th. Soloists: Genia Kühmeier (soprano), Peter Mattei (baritone). Conductor: Riccardo Muti with the Vienna Philharmonics.

Entertaining Berlin duo recital: Röschmann and Kozená with Barenboim

Dorothea Röschmann (soprano), Magdalena Kozená (mezzo-soprano), Daniel Barenboim (piano). Berlin State Opera. April 27th 2008.

Despite the slightly antisocial scheduling of this recital at 11 am on a Sunday with the most superb weather seen as of yet this year, the Berlin State Opera was sold out for this duo recital of 19th century songs.

The concert was divided in two, with each half consisting of two duo sections and one solo section (programme listed below).

And I can report that both ladies both looked and sang superbly with Magdalena Kozená looking at least 7 months pregnant.

Magdalena Kozená represents the exquisite and delicately elegant singing style combining a perfectly controlled voice over the entire range with sensitive phrasing and immense varieties in word colouring. For her solo section, she unfortunately chose a selection of songs by Duparc, where she, in my opinion, fell short in terms of expressive power, though nevertheless exquisitely sung. Not surprisingly these songs are also commonly performed by Karita Mattila, having the sort of voice I´d find optimally suited to Duparc´s expressivity.

Dorothea Röschmann represents a more expressive singing style, with storytelling and declamation her first priority, not always opting for the beautiful sound, although she indeed has a beautiful voice. Her solo section consisted of songs by Wolf, performed with plenty of character and humour.

Their voices blended eloquently together, again with Dorothea Röschmann emerging the characterful and Magdelena Kozena the elegant, though with a tendency of Dorothea Röschmann to vocally overpower Magdelena Kozena. Both visibly enjoyed themselves, and in general the atmosphere of the entire recital was joyful, with the artists receiving far more applause than usual in Berlin (I suppose most of the audience were foreigners as well).

Accompanist was Daniel Barenboim, of whom can be said that he played exquisitely and with grace, never drawing attention to himself but providing a solid platform for the two ladies to shine. Furthermore he looked in very good health indeed (for those speculating on the reasons behind his cancellation of the current run of Don Giovanni performances, one of which is indeed scheduled later this afternoon).

Recital programme:

MENDELSSOHN-BARTHOLDY (duets)
Ich wollt´, meine Lieb
Abschiedslied der Zugvögel
GrußHerbstlied
Maiglöckchen und die Blümelein

HUGO WOLF (Dorothea Röschmann)
Nimmersatte Liebe
An eine Äolsharfe
Erstes Liebeslied eines Mädchens
Denk es o Seele
Im Frühling
Gesang Weylas
Begegnung

JOHANNES BRAHMS (duets)
Die Schwestern
Es ging ein Maidlein
Phänomen
Och Mod’r, ich well en Ding han
Weg der Liebe

Intermission

CAMILLE SAINT-SAËNS (duet)
Pastorale

CHARLES GOUNOD (duet)
D’un coeur qui t’aime

GABRIEL FAURÉ (duet)
Puisqu’ici-bas toute âme
Tarentelle

HENRI DUPARC (Magdalena Kozená)
L’Invitation au Voyage
Extase
Chanson triste
Phidylé

ANTONÍN DVORÁK (duets)

V dobrým sme se sešli
Holub na javore
Zajatá
Zelenaj se, zelenaj
Prsten

Renée Fleming drowned by Thielemann (or possibly the acoustics) in otherwise magnificent Strauss programme in Munich

Renée Fleming with Christian Thielemann, April 13th 2008 in Munich

Munich Philharmonic Orchestra, Munich, April 13 2008
Christian Thielemann (c), Renée Fleming (soprano)

Programme:
Pfitzner: Ouverture from "Käthchen von Heilbronn"
Richard Strauss orchestral songs: Freundliche vision, Verführung, Winterweihe, Zueiningung
Richard Strauss: Scene from Ariadne auf Naxos
Beethoven: Symphony no 7


Pfitzner, Richard Strauss and Beethoven are typical programming choice for Munich Philharmonic chief conductor Christian Thielemann. This Sunday matinée programme was repeated twice this week and next week will feature another three concerts with Renée Fleming singing Richard Strauss orchestral songs and an opera scene (this time from Die ägyptische Helena).

No doubt, Renée Fleming has the exact right voice and expression for Richard Strauss´ orchestral songs, and the way her voice blended in with Thielemann´s gloriously beautiful orchestra sound came close to perfection. The only, and unfortunately not minor, problem was, that she was barely audible. What we heard was Richard Strauss orchestral pieces with the occasional soprano adding beautiful sound to the woodwinds and strings. According to the locals we spoke to this was a problem regardless of seating. The lyrics were understood by no one, not because Flemings diction is substandard, but because she simply was not heard. Even in the big scene from Ariadne (accompanied with a reduced 30-man orchestra) she was not heard properly.
I do not, based on previous live experiences with Fleming, believe the problem lies mainly within the size of her voice. I was told by regular Munich concertgoers that this may be blamed on the acoustics of the Philharmonic Hall, but I do not believe Christian Thielemann to be an entirely innocent bystander either.

Christian Thielemann is no accompanist in the sense that with him the orchestra does not simply accompany, but takes on a role at least equivalent to that of the soloist. And, in my opinion, he is right to do so, particularly in Richard Strauss, where the orchestral textures are essential in creating a successful performance. And indeed, the sheer beauty and colours he extracts from the orchestra are just marvellous. However, one must expect a conductor of Thielemann´s caliber to be well acquainted with the acoustics of his own house and to be able to control the orchestra accordingly, thus I strongly suspect he could diminish the orchestral volume if he wanted to. Furthermore he has previously been known to drown out singers with considerably larger voices than Renée Fleming, such as René Pape last year in the same hall, believe it or not. On the other hand, in the Parsifal, I just heard him conduct in Vienna, all singers went through fine, even the very small voiced Mihoko Fujimura as Kundry. So, I guess the jury is still out...

Back to Renée Fleming, I seriously doubt whether Ariadne is a right role for her, although, by all standards she would perform it more than well should she decide to take it on. She seem to focus on producing a very beautiful sound with endlessly floating notes, entirely right for the Strauss song selection, but for Ariadne, I felt a lack of vocal projection and drama.

Christian Thielemann is a Pfitzner-champion to a degree that he conducts the Ouverture from Kätchen von Heilbronn without a score. Or maybe it´s just very straight forward to conduct, since the piece seems relatively monodimensial. I seriously doubt that the quality of Pfitzner´s music, at least based on this piece, deserves this much energy from Thielemann´s side. But it´s always appreciated to hear a non-standard repertoire piece in a concert like this.

Thielemann´s Beethoven was exactly as I expected it would be (and conducted without a score, of course): His primary focus also seems set on creating a glorious sound, which sweeps anything and anyone away. And it is indeed glorious, but at some points I´d like to take a look beneath that beautiful surface. The orchestra played with great enthusiasm and he is obviously well liked by both the orchestra player. And by the audience. Deservedly so. And I am certain a potential Strauss recording with Fleming and Thielemann will be marvellous, especially since the sound balances may be regulated...

All photographs by me from the concert in Munich

Wonderful Rolando Villazon recital at the Berlin State Opera

All photos from Berlin State Opera, March 22th 2008.

Rolando Villazón (tenor), Daniel Barenboim (piano),
Berlin State Opera, March 22th 2008.

Recital program:

Schumann: Dichterliebe

Duparc: Chanson triste /Lamento/Le manoir de Rosamonde / La vie anterieure

Liszt: Tre Sonetti di Petrarca -1. Pace non trovo 2. Benedetto sia ‘l giorno 3. I vidi in terra angelici costumi

It was obvious to everyone present at Rolando Villazón´s wonderful recital Saturday at the Berlin State Opera, that heis an artist who gives everything to his audience. He literally poured his heart out in this recital programme with songs by Schumann, Duparc and Liszt. There is just such a sympathetic aura around him that you really want him to do well. And on top, Villazon seemed unusually relaxed and calm on stage, as opposed to the hypomaniac presence I´ve seen him exhibit quite a few times in the past. Which was not at least due to the presence of Daniel Barenboim, who was a wonderful accompanist, precise and expressive, but never pushing himself forward. Villazon quite visibly leaned on his solid support the entire evening. Needless to say, the Berlin State Opera was packed, and extra seats had been placed on the podium.

Rolando Villazón is such a sympathetic artist that I genuinely wish I could report that he delivered a perfect recital in every sense and was back with full vocal power. Which, however, wouldn´t be a quite honest note of my impression.

First of all, Villazón was wonderfully expressive throughout the programme, creating infinite colours with the voice alone and with a minimum movement on stage. Regarding expressivity and insightfullness he definitely has never been better.
Vocally, however, there was a thin veil over most of his middle and in particular the high register, where he had trouble with the high pianissimos. He started out carefully with the Dichterliebe and placed more and more weight behind his voice as the evening progressed, but he never quite accomplished an unstrained sound in the top. In particular in the Liszt songs, requiring force in the top register, he didn´t quite have the necessary power.

Does this detract from the enjoyment of this recital? In my opinion, not really. However, I found myself worrying about his upcoming Don Carlos at the Royal Opera more than a few times. He has already cancelled his Cavaradossi in Berlin next season in favour of a Lenski, which seems to be a step in the right direction. It would be a genuine loss to loose an artist of his caliber.

Berlin Philharmonics: Music in the Third Reich and Dvorak´s Requiem

Poster from a National-Socialist exhibition 1938. From www.berliner-philharmoniker.de

Dvorak: Requiem. Berlin Philharmonics, Luisotti (c). Soloists: Harteros, Surguladze, Sabbatini, Prestia. Berlin December 6th, Philharmonie.

Entitled "The suspect saxophone" (link here)- the foyer of the Berliner Philharmonie shows an interesting exhibition of music in the Third Reich. While those with particular interest in the subject will find nothing new here, all these photographs of Richard Strauss and Furtwängler with high-ranking Nazi officials still make for an after-thought..Obviously Richard Wagner is quite well represented too (with his anti-semitic essays from the 1850´s), together with Winifried Wagner and her (suggested?) relationship with Hitler. And Houston Stewart Chamberlain, husband of Wagner´s daughter Eva and a fierce Anti-semitic himself.

The main reason I was here, however was for the Dvôrak Requiem: The Berlin Philharmonics conducted by Luisotti with soloists Harteros/Surguladze/Sabbatini/Prestia. In a simply brilliant performance by this orchestra, which definitely still is among the very best (despite malicious rumours to the contrary): Just listen to the marvellous woodwind soli (Emmanuelle Pahud is playing the solo-flute), the perfectly intonated brass, the soft and yet precise strings. All cleverly balanced by conductor Luisotti. Combined with the superb acoustics of the Philharmonie it made for a memorable performance.

The soloists were curiously all placed behind the orchestra on the left side, which would have been fine had I had a seat on the right side of the auditorium...As it was, half of the auditorium (including myself) could not see them, a decision I find more than slightly odd. They did however deliver a fine collective performance.

Superb Sibelius/Salonen/LA Phil at the London Barbican

Esa-Pekka Salonen with the Los Angeles Philharmonics: Sibelius 2nd Symphony; Return of Lemminkainen; Salonen´s Wing on Wings. Barbican Centre, November 1st 2008.

Esa-Pekka Salonen is currently touring (some of) Europe with the Los Angeles Philharmonics playing his first ever complete cycle of the Sibelius symphonies including works by additional Finnish composers such as Kaija Saariaho and himself under marketed as Sibelius Unbound.

Salonen´s own superb composition Wing on wing from 2004 is a piece for orchestra and two sopranos plus the loud-speaking voice of architect Frank Gehry of the Walt Disney Concert Hall. for which this piece was written. The sopranos had to literally run between the stage and balcony to make their wordless solos on time in this very accessible piece focusing on rhythm and rich string textures. If had been told this was Stravinsky from the period of Firebird and Sacre, I would have believed them.

Sense of rhythm and energy are some of Esa-Pekka Salonen´s biggest assets as a conductor, and suffice to say that this evening´s Sibelius 2nd symphony as well as Lemminkainen´s Return were absolutely superb. Salonen brings this very special quality to Sibelius music, never just pretty, always with that dark undercurrent just beneath the surface.

And what a seriously superb orchestra the Los Angeles Philharmonics is: Razor-sharp precision in the strings, a stunning brass section and quite obviously very committed.

I assume this Sibelius cycle will be released on CD or DVD at one point, which will then be a clear must-have.

Von Otter/Kuusisto/Forsberg in Korngold recital

I suppose I ought to be more familiar with Korngold´s music, so I wouldn’t have had to risk neck injury to look at my neighbor’s programme to follow the going-ons at this recital – since programs were sold out even before people started arriving, though the Queen Elizabeth Hall was only half full at most…..

Luckily accompanist Bengt Forsberg provided some initial explanations of the programme – which mainly consisted of songs by Korngold and contemporaries (sung by Anne Sofie von Otter) as well as his violin sonata (played by Pekka Kuusisto). I must admit, I was very impressed with Finnish violinist Pekka Kuusisto – his appearance in casual outfit and an almost non-chalant take on the music, but a very engaging presence on stage. Anne Sofie von Otter sang beautifully, but she somehow seemed not to perform at maximal intensity.

I now see that Intermezzo has also reported from this event (more extensively), and with more or less the same main points as myself.

Bill Viola´s Déserts, a new accordion concerto and stewardesses serving snacks...

The white smoke filling the bare white-walled 17th century former naval warehouse slowly lifted as Varese´s Déserts began, with the orchestra initially hidden behind a white curtain. Bill Viola´s images of isolated deserts and underwater images interrupted by an isolated man in a room seems almost ideal to accompany Varese´s music. Purification, redemption, transfiguration seems to be the themes of Viola´s work. Arrestingly beautiful.

Intermezzo included white-clad stewardesses serving wine and tapas to the audience (brilliant idea!)- while deserted cities were projected on the wall.

And then the world premiere of Kent Olofsson accordion concerto - mixing prerecorded electronic sounds played by loud-speaker with those of the symphony orchestra - placed at 5-6 small elevated scenes between the audience. And the accordion score included vocal sounds and drumming on the instrument as well... It is a fascinating piece, the mix of percussion with the characteristic accordion seems a very good match. I had the most fascinating seat in the room - just beside the percussionist, playing on: Old metal sweet boxes, scratching a heavy object on the floor, moving a chord sticking out of a drum ..wonder what his score looked like....

I´d say this was a close-to-ideal set-up for performing contemporary classical works: The mix of century-old buildingc, brand-new music and top-quality visual input.

This concert was part of the Sound Around festival:

Friday 05.10.07
Danish Radio Sinfonietta
Conductor: Christian Eggen
Soloist: James Crabb (accordion)

Edgard Varèse: Déserts with video by Bill Viola
Intermezzo: Transformation by Hans Hansen and 7 students from the School of Archicture
Kent Olofsson: Chladni’s Bow- Physisonochromie III for accordion, orchestra and electronics (2006-07) World Premiere

Alison Balsom on trumpet and Schönwandt with Beethoven 5 in Copenhagen

I suppose I´ll have to admit to being one of these "people-of-only-superficial-insight", who are influenced by glittery promotion and presentation of a classical artist: The first I heard (or rather saw) of British trumpeter Alison Balsom was on the cover of Gramophone, after which I heard her album Caprice, noticeable by a wonderfully clear and precise sound. And again, this is why I spend this evening at the Old Royal Danish Opera, where Alison Balsom was visiting together with Collegium Musicum (an orchestra made up by professional musicians from the orchestras in Copenhagen) and conductor Michael Schönwandt (Chief Conductor of the Royal Danish Opera).

First of all, the Old Stage at the Royal Danish Opera (now primarily used to stage baroque operas) after the new Opera was completed a couple of year ago, is a wonderful concert venue. As audience, you are sitting quite close to the musicians and from many seats you have excellent views of both musicians and conductor.

Secondly, the program was very intelligently put together - starting with Jean Francais´ arrangement for orchestra of three piano pieces by Poulenc.

Alison Balsom then played as soloist (together with the orchestras English horn player) in Copland´s "Quiet City" and then in the trumpet concerto by Hummel. "Quiet City" is a very beautiful piece and Alison Balsom played beautifully on the trumpet contributing to the general mood of solitude and peace of this piece. Differently with Hummel´s classic trumpet concerto (written in 1903) - trills, runs and everything you could do with a trumpet these days were shown off. I have heard people supposedly with trumpet knowledge claim, that much more technically capable trumpeters than Balsom are around, they are just not exposed to the media as she is: If true or not-I don´t know - but she definitely has a cool stage presence combined with the essential "star quality". And judged in itself, the performance she gave tonight in Copenhagen, her technique seemed first-class to me. I could just have wished for her to be a little less restrained in her expressions at times - I had the feeling that she was not playing up to maximum all throught the concerto.

And then Beethoven 5 - no introduction needed. Schönwandt´s Beethoven is first-rate, and I would actually like to hear him conduct it with an (even) better orchestra (I actually have, but it is so many year ago that I´ve forgotten about it!). I had, based on his Richard Strauss conducting (which is genuine top-class) expected a more restrained, objective Beehoven from him, which, luckily, it was not. In terms of interpretation: He has excellent command of the long lines of the music and the overall dynamics, with a good drive in the string sections who do not, however make the center of the interpretation with Schönwandt but are nicely balanced with wooden wind and brass. In that respect, I didn´t think the brass section had an exceptionally good evening. But everyone in the audience, I believe, had. Wishing that even more symphonic concerts will be scheduled in the Royal Opera.

West-Eastern Divan Orchestra with Boulez/Barenboim in Salzburg

Founded in 1999 by Daniel Barenboim (Argentinian-Israeli I believe) and the late Palestinian intellectual Edward Said, the West-Eastern Divan Orchestra consists of young musicians (under 25) from Israel, Palestine, Lebanon, Syria, Jordan and Egypt and is “an orchestra agains ignorance” according to Barenboim.

This year, the West-Eastern Divan Orchestra has been invited by the Salzburg Festival as Orchestra in residence – and scheduled for concerts in the Salzburg Festival Hall as well as afternoon sessions in the newly renovated university aula just opposite the Festival Hall. I attended two excellent afternoon sessions lasting roughly from 3 to 6 pm for the bargain price of 10 Euros.
The sessions were designed to discuss several aspects of the music, with demonstrations by the orchestra and questions from both audience and orchestra members (luckily for me, in English).

I believe, the theme of the first afternoon (with Barenboim) was “sound and silence” and that of the second afternoon “structure” (with Pierre Boulez).
The first afternoon started with the orchestra played excerpts from Schönberg`s Variationen für Orchester op. 31 and the Tristan chord and the rest of the afternoon was a sort of master class with Daniel Barenboim and the young British conductor Robin Ticciati, who conducted the Leonore Overture (no. 3). The dialogue between the two conductors was excellent, Barenboim came across as very open-minded, and kept telling Ticciati he was conducting the overture with excessive dynamics in the strings (funnily the very same thing Barenboim himself is often criticized of doing - not by me however). Orchestra members had suggestions as well and the whole thing was very entertaining.

The second afternoon “structure” was with Pierre Boulez (one of my favourite conductors) and gave great insight into his way of working with an orchestra. It was also the first time another than Barenboim conducted the orchestra. Boulez conducted Bartok´s Four Orchestra Pieces – first excerpts from each of piece demonstrating how to structure the music and then the four pieces uninterrupted. And it was clearly demonstrated, that although this orchestras claim to fame is the mixed middle-eastern background, it is an astonishingly good orchestra! The way they played those Bartok pieces was just excellent – and this is not easy music to communicate. Audience members trying to show off their knowledge of modern music, certain performances etc. rather than curiosity regarding the questions they were asking unfortunately dominated the questions session. Not too surprisingly, Pierre Boulez at one point stated, that he preferred an acid response to no response at all (when asked about audience reactions to modern music). And that a high quality performance is tremendously important in atonal music, where the communication of structure is mandatory for understanding the pieces. And that performances in the 1940´s and 1050´s of Bartok frequently were awful, because neither conductor nor orchestra got the notes right, not to talk about the structure in the music.
In short, two excellent afternoons with an excellent orchestra. I don´t think the members are professional musicians (yet), but they played like they were. Indeed, a very good initiative.