It was fascinating to hear what remained from , but it would have been still more fascinating to have heard it all. After an occasionally shaky start, the Vienna Philharmonic was on good form. Daniel Harding shaped the incidental music before the interval with knowledge both of its French Baroque origins and the affectionate almost-but-not-quite neo-classicism in which Strauss clothes it. The Overture in retrospect offered something of an exception, more Stravinskian than what was to come, but not jarringly so.
The earlier Tristan quotations did not fail to delight, nor, of course, to raise a smile. Emily Magee was an adequate Ariadne, but rarely more than that.
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Too often, her voice failed to soar as it should; an edge to it proved a touch unpleasant. Her extended aria, up a semitone, was delivered as flawlessly as I can recall any performance of the somewhat easier — that is, of course, relative! The aria is even more outsized, even more absurd, in its way even more lovable; at least, that was how it sounded here. Apart, that is, from the costume. Likewise the other smaller sung roles. If the actors impressed less, it was difficult to know whether that was simply on account of the material.
Jourdain was at least in part on directorial instruction. Will someone now offer us the version we were promised? And then we can return safely to the unalloyed joys of Sven-Erik Bechtholf, director. Rolf Glittenberg set designs. Marianne Glittenberg costumes. Heinz Spoerli choreography. Ronny Dietrich dramaturgy. Vienna Philharmonic Orchestra. Daniel Harding conductor.
In the right repertoire, and the nature of that repertoire can readily surprise, Muti remains a great conductor. I have heard far worse in Liszt, a composer who suffers more than most not only from bad performances, but also from the deleterious consequences thereof.
There were times when, volume notwithstanding, the work sounded somewhat thin. This was the first time I had heard this fascinating work in the flesh. Steely, post-Revolutionary grandeur he does extremely well, form delineated with great clarity, but tender moments were equally well served. Any fears of undue restraint were duly banished by a blazing conclusion to the Kyrie. Choral singing was excellent throughout, as, the occasional blemish aside, were the performances of a large, though not extravagant, VPO.
The Days at Florville, Or, the Ravishing of Lesley
Vienna Philharmonic Orchestra, Riccardo Muti conductor. Gib acht! Here Tilson Thomas and Michelle de Young work together in making this interpretation memorable for details like this, which fit into the larger whole. Yet the core of this unity is in this ten-minute movement, which deserves rehearings to appreciate the attention the performers brought to the piece.
De Young is an exemplary Mahler interpreter, and this recording demonstrates her fine technique and sensitivity to the phrasing. Her rich tone is present in the softer passages, as well as in the louder ones, with the color always present, and the voice never strained. In fact the qualities which De Young brings to the fourth movement are evident in the fifth, where the solo voice expresses the confession of St.
Peter for betraying Jesus when he was arrested.
Here the chorus not only conveys the text, but evokes instrumental music with the ostinato figures Mahler used in it. This sense of vocality is present throughout the Finale, even the orchestral outbursts in the horns and other brass, which fit well into the fabric of this interpretation. At the same time, the balance between textures and dynamic levels follows the score faithfully and results in an intensive conclusion to the movement.
Wordless, text, and even without the movement titles Mahler once used for this work, the result is impressively moving in this persuasive interpretation of a sprawling score, which has challenged generations of performers as they also approached the Third Symphony. The delicacy of the second movement is also apparent, with the rich sonorities of the strings resonating well in this performance.
The monumental opening movement receives a careful treatment by Tilson Thomas in a performance which lasts 36 minutes. As the marches and march-like music develop in its structure, the structure takes shape vividly in this performance. The sonics in this recording represent the live performance well, and give a sense of immediacy and excitement.
It is a strong interpretation of the first movement, which shapes the pieces that follow. Included with this recording is a performance of the song cycle Kindertotenlieder , which De Young interprets persuasively. Her elegant phrasing and clear diction bring the poetry forward in this familiar piece. The set of songs is compelling for the thoughtful tempos that allow the text to be heard, with the accompaniment serving the strophes of each song well. The cycle fits into the remaining time on the second disc, and its inclusion is not related to the Third Symphony.
After all, the two works are separated by a decade, and Tilson Thomas is good to distinguish the styles deftly. Rather, the sense of loss and its acceptance is present throughout piece and guides this memorable interpretation. This is an audacious work of theatre for orchestra and voices. No costumes needed, nor staging, though seeing it in a performance space as inherently dramatic as the Royal Albert Hall intensifies its impact.
No live Gurrelieder will ever be dull. Gurrelieder has featured in seven BBC Proms. Pierre Boulez conducted it in , in an astounding performance that is still one of the best recordings available. Jukka-Pekka Saraste and his musicians have a lot to live up to, but their Proms performance did not disappoint. Every performance has its merits, and from each we learn. Between the time Schoenberg began Gurrelieder and the time he completed it, he went through trauma in his personal life.
The picture above shows Schoenberg and his wife Mathilde Zemlinsky, with their two children.
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- The Days at Florville, Or, the Ravishing of Lesley.
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But the faces are pools of blood. Mathilde and the artist Richard Gerstl had an affair but when it ended, Gerstl killed himself. He was now able to resolve the impasse with Gurrelieder. This Waldemar is maddened by suffering and turns on God. Philip Langridge a good Klaus Narr had an even more awkward instrument, but used it to create character better than most.
The Ravishing of Lesley - Miranda Reigns - Google книги
As the ghost of Waldemar rides through the skies, the terrified Peasant Neal Davies hides and puts his faith in formulaic prayers. Like Waldemar and his hunters, the jester is dead, too, a haunted spirit forced to walk in endless circles, going nowhere. His music is unsettling, as it should be, despite the mock bucolic text.
The joke is on the jester, who must ride with his master in death. Jeffrey Lloyd-Roberts sang correctly but could have expressed more savage irony.