Showing posts with label Magdalena Kozena. Show all posts
Showing posts with label Magdalena Kozena. Show all posts

Sunday, September 07, 2014

St Matthew and St Mark?

It was one of the hottest tickets in town yesterday: the semi-staged performance at the Proms of the Bach St Matthew Passion with the Berlin Philharmonic, Sir Simon Rattle conducting, direction by Peter Sellars. Add to this the Berlin Radio Choir, singing from memory, an all-star cast and a packed Albert Hall that was ready for anything...

Well, almost anything. We were not quite ready for the utterly devastating performance that Mark Padmore gave as the Evangelist. In Sellars' concept - sometimes convincing, sometimes less so - the Evangelist carries everything, experiencing the emotions and traumas of each character, supporting them, leading them, suffering in their place. Christ - the astounding Christian Gerhaher - is a distant figure, seated above the orchestra and outside the action through the first half, then entirely off stage for his scant few phrases in the second. The Evangelist lives the drama and is its focal point. The beauty, nuancing, clarity and stillness of Padmore's voice would have been enough to carry the night on its own, but his every move magnetised us and convinced us that he felt every anguish, every burden and every lash. If the British music business had not already given him a virtual sainthood by repute, they certainly should now. (Gerhaher, of course, is just as magical, but has frustratingly little to sing.)

The staging has its ups and downs, many of them literal. A lot of rushing around is involved and sometimes one wished they'd keep still for a few minutes. Yet some extraordinary images unfolded that also enhanced the music at a profound level, notably through the interaction of the instrumental soloists with the singers, moments that carried a plethora of meanings. Sometimes the players seemed to represent the soul, the conscience or the better self; perhaps even God, or Bach in place of God? Magdalena Kozena sang 'Erbarme dich' kneeling at the feet of her violinist; Camilla Tilling in 'Aus liebe will mein Heiland sterben' stood in close quartet with her oboists and flautist; Emmanuel Pahud, no less, beside her right shoulder. Tenor Topi Lehtipuu stretched up towards an unattainable oboist in the organ inset; bass Eric Owens appeared to pray for mercy before a vengeful virtuoso fiddler. 

Rattle's tempi were largely very brisk, sometimes too much so - occasionally I longed for an old-school influence to bring back a little more time for breath, contemplation and refulgence, since some of the intricate instrumental writing whooshed by to somewhat unsettling effect. But the magic was there all the same and the moments of stillness stood out all the better. The episode that brings the whole work together is (I feel) the final bass aria, 'Mache dich mein Herze rein' - here he understands, accepts and transcends all that has gone before. If that doesn't do its job, nothing does. It worked. 

My personal frustration with the staging is mostly due to the sonic impact, as it entails much clonking about and some directional echoes which are the fault of the RAH's acoustic, not the performers. Still, there's much to chew over: the presence, or lack of it, of Jesus himself (we might ask: is he real?), those intimate dialogues between singers and instrumentalists, that soul-searing performance by Padmore. 

Would less be more? We can feel the suffering in the music; we don't need to see it. The spiritual catharsis of this work, like Parsifal's, is perhaps better internalised if there is not too much to observe and assess: that process puts us outside ourselves, switches on our objective brain and mutes the intuitive, emotional plane that's necessary for the full cumulative effect to reach us. (Btw, I am not religious in any way, shape or form; yet perhaps that makes the spiritual dimensions of Bach and Wagner all the more meaningful.)

What seemed at the time a long, hot evening now haunts for its ineffable beauty, its deeply human quest for meaning and its all-consuming, tour-de-force performances. 

In the foyer I spotted the head of the LSO, who may or may not have been clutching a metaphorical butterfly net. 

Wednesday, May 21, 2014

The soprano who keeps her head when all around are losing theirs...

It's Sally Matthews, who stars as Blanche in the forthcoming run (the Robert Carsen production) at Covent Garden of Poulenc's Dialogues des Carmélites under the baton of Sir Simon Rattle. The opera ends with the onstage beheading of 16 nuns. 

Here's my interview with her from today's Independent.  And a little extract from Gianni Schicchi.




If you met Sally Matthews in the street you might not guess that she is one of Britain's finest sopranos. Quiet, serious and rather reserved, the 38-year-old singer is anything but an obvious star; but on stage her voice speaks for itself. Blessed with great range and a rich tone containing unusual warmth, colour and shadow, her refulgent yet pure sound is ideal for Mozart, Strauss and, not least, French music.

Matthews is about to take the leading role in Francis Poulenc's opera Dialogues des Carmélites at the Royal Opera House, amid an all-star cast conducted by Simon Rattle. Operatic success does not get much bigger than this, but she refuses to play the diva. To her, opera is teamwork; and she prefers to avoid repertoire like the more melodramatic moments of Puccini, which possibly attract a different type of personality. "Sometimes the big egos completely detract from what we're doing," she muses. "I've worked with a few of them and I didn't like it much. It should be all about the music."

The Southampton-born singer's career was launched when she won the Kathleen Ferrier Singing Competition in 1999, but it was a special opportunity at the Royal Opera House in 2001 that subsequently determined her direction...
READ THE REST HERE

'Dialogues des Carmélites', Royal Opera House, London WC2 (020 7304 4000) 29 May to 11 June

Thursday, August 30, 2012

Salzburg: I am a Festspielhave




I'm just back from the Salzburg Festival, where I heard more amazing singers within 72 hours than you'd believe possible. Three very different operas from three different centuries, each focused on war, actual or between the sexes - usually both. My review-proper will be in Opera Now magazine. In the meantime, here's a little taste of the trip.

Bernd Alois Zimmermann's Die Soldaten proved perhaps opera's most devastating experience: an all-out tour-de-force, assaulting senses and emotions alike. Good to see TV cameras there last Sunday, as this production is a great achievement that requires preservation on film; nothing, though, can really capture the impact of experiencing it live, from a seat almost beneath the largest of several outsize tam-tams. This opera musters every last shred of force available to an orchestra, a cast, a lead soprano (the magnificent Laura Aikin), a conductor (heroic Ingo Metzmacher) and the human ear itself to get across its message: the horrors that these military men foist upon the hapless Marie, and the failure of a variety of parents to prevent it. The composer took his own life in 1970. Books on Zimmermann are in short supply, and there seems to be nothing in English, but Alex Ross provides some valuable insights here.

Other question-marks hang over Carmen. Updated to Franco's Spain, it starred Magdalena Kozena as a red-haired firebrand partnered first of all by her husband, Sir Simon Rattle, in the pit, and secondly by Jonas Kaufmann, whose Don Jose was a puzzling matter possibly determined by directorial decisions rather than tenorial ones.

Finally, Handel's Giulio Cesare, with Andreas Scholl as Julius, Cecilia Bartoli as Cleopatra, Anne Sofie von Otter Cornelia and Philippe Jaroussky Sesto. These people know how to Handel you. A perturbing moment towards the end when one reckoned that the Salzburg Festival and all those great singers should know better than to put drinks on a piano. But otherwise...these guys and GFH together moved me to tears several times - Cornelia's first aria, the duet for her and Sesto, Cleo's 'Piangerai' - and left me at the end of five hours almost ready to beg for more. Gulp.

Inside the venues: phenomenal music-making, imaginative productions (some more than others) and world-class performances. The setting: mountain scenery, evening dresses, outsize jewellery, facelifts, sponsors' parties, pre-show drinkies choice of Moet on one side of the road or Taittinger on the other.

And the Festspielhave? In case you haven't seen all this before, the Festspielhaus bears Roman-style lettering above the door, declaring it the 'Festspielhavs'. This is where the Festspielhaves go in. The promenade of the audience around the champagne stalls often attracts onlookers. Those are the Festspielhavenots.

Pretentious though it may look, it's not all snob value. On my second and third evenings my neighbours were enthusiasts who were there on their own purely for love of music and interest in theatre. One was a retired lady from west of Paris, the other a mechanic from the Salzkammergut. And there is kindness aboard, too. Exiting Die Soldaten, I was brolliless in a downpour that put Salzburg's famous Schnurlregen to shame. A Californian lady festival-goer spotted me and offered to share her umbrella across the bridge. That's never happened en route to Waterloo Station. (Below: the view of the Castle from the interval crowd outside the Felsenreitschule. The dog is a Festspielhavenot.)

The atmosphere has changed a little since my last visit, some 20 years ago. Back then, almost every shop window bore a poster showing one or more of the musical stars visiting the town. The buses carried advertisements proudly welcoming Maurizio Pollini and Krystian Zimerman to Salzburg. The record shops were full to busting. Today? The sides of the buses plug designer outlets and free parking. I only spotted one record shop in town, and it specialised in world music. Zimerman's recital had been cancelled due to illness (Leif Ove Andsnes replaced him). Sponsor logos are plastered everywhere - gone are the graceful days of discretion in philanthropy (though it's nice of Nestle to provide Kit-Kats for the journalists in the media centre). And a gaping division is all too evident between the down-at-heel atmosphere on the outskirts of town and around the station, and the dripping-with-gold-and-designer-shops historic centre. The one thing that hasn't changed is the number of tourists and the amount of Mozartkugeln on sale.

A more welcome addition is a big screen in the Domplatz that relayed Die Soldaten live on Sunday, and on other evenings showed film of operas from festivals gone by. And I may have missed a trick by not taking the Sound of Music tour bus - apparently you all sing 'Doe, a Deer' and there's a quiz to win a packet of Edelweiss seeds. But the way time panned out, it was a choice of that or a jog along the river, and the latter won. Had to burn off some of that chocolate.

Check the November issue of Opera Now for my detailed review of the three performances.