Baritone Benjamin Appl and pianist Wolfram Rieger gave us Die schöne Müllerin with a twist at Walter Hall last night. The twist was a companion/introductory piece by David Lang called flower, forget me based on one of the Müller poems that Schubert didn’t set with fragments of other flower related Schubert song texts. If death is a major theme in the main cycle it’s an obsession in the new piece! It’s also very low for a baritone with some really difficult phrasing. One had to admire Appl’s skill in navigating its lugubrious depths but there was an almost tangible sense of relief in the audience when the duo launched into the sunnier and more familiar territory of “Das Wandern”.
Deutsche Grammophon has just re-released the recital by Bryn Terfel and Llyr Williams that was recorded live at the Verbier Festival in 2011. It’s a generous package. It kicks off with a couple of exquisitely sung Schubert songs which are followed by Schumann’s Liederkreis Op.39. This is gorgeous lieder singing with the voice sounding very fresh, the diction spot on and lovely accompaniment.
After the interval there’s Ibert’s Chansons de Don Quichotte and Quilter’s Three Shakespeare Songs. These too are beautifully done. Then it’s on to the lighter stuff that Bryn always seems to throw in on these occasions and which does help making listening to the recording seem more like being at a live concert. Among other things there’s a lovely Ar Hyd y Nos and The Green Eyed Dragon. You have to admire a singer who can manage four languages with such clarity and feeling and still be personable and funny.
Veteran mezzo-soprano Anne Sofie von Otter appeared in recital at Koerner Hall yesterday afternoon with pianist Christopher Berner. The first part of the programme was some fairly gentle Mozart with some fairly light weight Weckerlin and one long Schubert piece; “Die Viola”. A short Mozart piano piece rounded out the programme. It was stylish, enjoyable singing but one felt that both choice of material and method of presentation were being chosen to conserve the voice. How would things go after the interval when three songs from Winterreise were promised?
Presto Classical lists over 100 recordings of Schubert’s Winterreise for (almost) every voice type accompanied on pianoforte, fortepiano, string quartet and probably more. It’s also frequently performed live and I’ve certainly seen it done multiple times in settings ranging from the most formal of Liederabend to staged with projections and all manner of things. So why bother with another new recording? Well it’s largely because I’m a fan of English baritone Roderick Williams who has just had a Winterreise recording, with Iain Burnside at the piano, released on the Chandos label.
Last night Koerner Hall live streamed a concert by the COC orchestra conducted by Johannes Debus with guest soloist Adrienne Pieczonka. It was a mostly Beethoven concert bookended by the Egmont Overture and the Symphony No.2. In between came a set of more Beethoven, Schubert and Wagner sung by Adrienne.
I’m a big fan of taking classic song cycles and giving them a treatment other than the very formal Liederabend approach; fond as I am of that! So I was intrigued to see what Philippe Sly and Le Chimera Project would make of Schubert’s Winterreise.
Yesterday’s lunchtime concert in the RBA was the last for the year in the vocal series and featured members of the Ensemble Studio. Rachael Kerr was scheduled to do about half the accompanying but illness prevented her from playing so some hasty reprogramming meant that what we got differed somewhat from the printed programme but it was still a very well put together effort.
The 2018 Wirth Song Prize winner tenor Marcel d’Entremont gave the customary recital in the RBA at noon yesterday accompanied by Dakota Scott-Digout. It was an interesting choice of material; nicely balanced between old and new worlds. He started with Ravel’s Cinq mélodies populaires grecques. I guess these set the tone for the recital. Marcel has a very operatic voice. It’s big with quite a lot of vibrato. The Ravel was loud but nicely characterized and sung in perfect French. He followed up with a rousing. but not overly subtle, Kuda, kuda. I was beginning to find things a bit one dimensional.
There’s something very special about a song recital by a really good singer at the top of his/her game in a space conducive to song. The stars conjoined yesterday to yield a recital by Adrianne Pieczonka with pianist Rachel Andrist in the song friendly acoustic of Mazzoleni Hall, as part of the Mazzoleni Songmasters series.
Yesterday Matthew Cairns and Rachel Kerr performed an unusually wide range of songs in the Richard Bradshaw Amphitheatre. It’s part of Matthew’s prep for his CBC recording session which was part of the prize at last year’s Centre Stage and which will be broadcast in the new year. They kicked off with a contrasting pair of Duparc song’s. First came the almost dreamy L’invitation au voyage with it’s arpeggio accompaniment followed by the much more dramatic Le manoir de Rosemonde. These really set the tone for the recital. There was power where it was needed but also considerable delicacy from both singer and pianist.