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Posted: November 28, 2019 |
It’s commonplace for star singers rehearsing While using the Metropolitan Opera to crank out time for your recital while they’re in Big apple. But the effects aren't frequently this intriguing. The mezzo-soprano Magdalena Kozena together with the conductor Simon Rattle, who're married, will probably be showing in two months in Strauss’s “Der Rosenkavalier” within the Fulfilled: Ms. Kozena sings Octavian, and Mr. Rattle is Within the pit. But on Tuesday, joined by click here six other musicians, with Mr. Rattle on piano, they introduced a various, novel and demanding software at Alice Tully Corridor. (Ahead of this year, they manufactured a recording based on the program, “Soirée,” within the Pentatone label.) Ms. Kozena chose tracks which were being like chamber features for voice and distinct combos of products, setting up with Chausson’s seldom listened to, and ravishing, “Chanson Perpétuelle,” a seven-instant inserting of a Symbolist poem by Charles Cros for singer, string quartet and piano. The textual articles is in fact a younger girl’s fraught account of The person who deserted her, established to curiously melting lyrical traces, with instances of frayed intensity. Ms. Kozena sang with impacting heat and shimmering audio, supported by lush, agitated strings (the violinists Giovanni Guzzo and Rahel Maria Rilling, the violist Amihai Grosz together with the cellist Dávid Adorján) additionally a piano alive with tremolos. The following execute, also inexplicably uncommon, was Stravinsky’s “A handful of Audio of William Shakespeare” (1953), one of many composer’s quite to start with ventures into twelve-tone new songs, scored for voice, flute (Kaspar Zehnder), clarinet (Andrew Marriner) and viola. Ms. Kozena gave a beguiling performance in the skittish and coolly wonderful established, Specifically the slyly sweet “Musick to heare.” The Shakespeare subject matter ongoing with Strauss’s “Drei Lieder der Ophelia,” the sole tunes on the program Together with the common pairing of voice and piano. Strauss captures Ophelia’s instability in tunes that slips involving sumptuous lyrical flights and bouts of fractured eeriness. Mr. Rattle offered delicate and articulate accompaniment to Ms. Kozena’s eloquent singing. She sounded sensual and earthy in Ravel’s intoxicating “Chansons Madécasses,” by which the piano, cello and flute parts are like equal companions while in the dialogue Together with the voice. And, Along with the Strauss tunes even now clear during the ear, it absolutely was attention-grabbing to hear Brahms’s “Ophelia-Lieder,” persons tunes-like alternatives of numerous of an identical Shakespeare texts, performed in this post in an arrangement for voice and thick-textured string quartet by Aribert Reimann. At the conclusion of the recital, Ms. Kozena took us to her Czech homeland. She sang Janacek’s “Nursery Rhymes” for voice, piano and clarinet, which experienced a touch of wailing klezmer On this feisty performance. Then she concluded with 6 Dvorak tunes, billed configurations of people texts that recount the travails and absurdities of rural each day living. In this post, last but not least, all 8 performers joined together with each other. Being an encore, Ms. Kozena gave a poignant account of Strauss’s “Morgen.” Mr. Guzzo carried out the melancholy violin melody affectingly, when Mr. Rattle reverently rendered the orchestra within the piano, With the many others turning into a member of in for that tunes’s consoling conclusion. Magdalena Kozena Carried out on Tuesday at Alice Tully Corridor, Lincoln Centre.
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