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Stile Antico @ The Miller Theatre
Above: the singers of Stile Antico, photographed by Marco Borggreve
Saturday February 19th, 2022 – Stile Antico, the London-based Early Music vocal ensemble, gave a wonderful program this evening at Columbia University’s Miller Theater. The music – and the ensemble’s hauntingly beautiful singing of it – was a balm to the spirit in these uncertain times.
In this program, entitled Toward the Dawn, Stile Antico brings us works – both sacred and secular – that sing of the hours between dusk and dawn: nocturnal music of mystery and of assurance that carries us through the watches of the night.
The twelve singers of Stile Antico stood in a semi-circle on the bare stage, all clad in black, rearranging themselves for each work. The program was devised in three sections: Evening, Nightfall, and Dawn. After the first piece of the evening – John Wilbye’s Draw on sweet night – there was a lovely silence, and then people started applauding. Although the singers seemed prepared for this intrusion – they took a bow – for me it broke the atmosphere. Thereafter, each piece was applauded and bows were taken.
The opening Wilbye set the mood for everything that follows: dreamlike, and tinged alternately with hope and uncertainty. in Thomas Tallis’s Te lucis ante terminum, we hear a prayer for God to watch over us throughout the night. John Ward’s Come, sable night is extraordinarily beautiful, both in words and music. From William Byrd, we heard Vigilante, a dramatic work that urges true believers to remain faithful…and aware.
The Nightfall section of the program commenced with Orlande de Lassus’ Toutes les nuitz, which tells of the restlessness of sleeping alone. This rang true with me as I thought back on the very few nights in the past twenty years that my beloved has not been there to have and to hold. Both in music and words, and in Stile Antico‘s singing of it, this song was a highlight of the program.
Next came the most familiar work of the evening: Gregorio Allegri’s Miserere. I first heard this heavenly music in a movie theatre, while watching the iconic gay film, Maurice. Jonathan Hanley was the tenor soloist, and the high-spinning soprano line was beautifully woven into the sonic tapestry. An interesting program note told of the transformation of this work over the years, so that it probably is quite unlike what Allegri originally wrote. Nevertheless, its enduring enchantment is easy to understand, especially when it is as poetically sung as it was tonight.
John Sheppard’s In manus tuas also calls for a soloist: bass James Arthur’s tone had a poetic sonority. The words, from Psalm 31:6, are wonderfully simple: “Into your hands I commend my spirit; you will redeem me, Lord, God of truth”.
The only contemporary work on the program, Nico Muhly’s Gentle sleep, composed in 2015 to a text by Shakespeare, did not seem at all out-of-place. The bending harmonics in fact gave a pleasing contrast to the rest of the works on the program. Muhly’s score has an intriguing and somewhat anxious feeling.
Now the dawn is heralded by Thomas Tallis’s O nata lux de lumine, which hails Christ as the “Light of the World”; this is followed by Claudio Monteverdi’s Ecco mormorar l’onde, a poem describing the morning breeze out of the Orient, stirring the ocean’s waves and bringing the world to wakefulness.
The evening concluded with Ave Dei Patris Filia by John Taverner: a longish work of varying moods that extols the Virgin Mary. While a blend of timbres is essential in a choral ensemble like Stile Antico, I did find myself frequently listening to individual voices as the program unfolded; the altos, in particular, impressed me in the concluding Taverner.
The concert ended with a joy-filled Amen, whereupon the singers were given a hearty and very well-deserved ovation. I’d had high expectations for this program, and they were surpassed: extraordinary music-making…bravi Stile Antico!
The hall seemed full, and for the most part silence reigned during the music. Invariably, though, if there is one thoughtless person in an audience, that person is destined to sit next to me. This individual arrived as the lights were going down, with a suitcase, and all bundled up; he/she clambered over me, took forever to settle in, and then spent the evening flipping noisily thru the dreaded texts booklet. Yet another case of the triumph of indifference.
~ Oberon
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Schultz/Rouvali @ The NY Philharmonic
Above: composer Žibouklė Martinaitytė, photo by Romas Jurgaitis
Author: Ben Weaver
Saturday February 19th, 2022 – As we all anxiously await the reopening of David Geffen Hall (née Philharmonic Hall, then re-christened Avery Fisher Hall) at Lincoln Center in Autumn 2022 (two years ahead of schedule!), the orchestra returned to the Rose Theater at Jazz at Lincoln Center for a concert featuring Richard Strauss, Tchaikovsky and a US Premiere of a recent work by Žibouklė Martinaitytė.
Born in St. Petersburg (then Leningrad), USSR, but raised in Lithuania and now based in NYC, Ms. Martinaitytė’s gripping 2019 work Saudade received its US Premiere in these NY Philharmonic performances. The word “saudade” is Portuguese and has no direct English equivalent, but it comes close with “longing,” (or as Madonna described it when covering Césaria Evora’s great ballad “Saudade” during her Madame X Tour: “yearning.”) To be honest, I’m not entirely certain what Ms. Martinaitytė is longing for in her Saudade, which is rather dark and ominous. But that’s not important when the music is this hypnotic. Much of the composition is played at a steady, slow pace, with strings providing the canvas on which the rest of the orchestra makes its contributions. There is something of Arvo Pärt here, though more varied in orchestration. Martinaitytė’s orchestra is huge, with numerous brass and percussion instruments (including, three trombones, tubular bells, and vibraphone), but unlike the lazy “throw in the kitchen sink ” noise of a composer like Christopher Rouse (who Albert Gilbert subjected us to for several seasons), Ms. Martinaitytė’s use of every instrument on stage is always economical and perfectly woven into the tapestry of sound, not just smashing a gong to cover up inadequate musical transitions – something numerous contemporary composers do with abandon. As she slowly builds Sodade to its climaxes and retreats, the work most reminded me of the freezing winds of Sibelius and crashing waves of John Luther Adams. Although unlike John Luther Adams (not to be confused with John Adams), Ms. Martinaitytė believes in brevity. She tells the whole story in about 15 minutes of Saudade. This is a beautiful and gripping piece. Maestro Santtu-Matias Rouvali, currently artistic director of the Philharmonia Orchestra in London, shaped it superbly, and the orchestra seemed to enjoy its challenges. They applauded Ms. Martinaitytė warmly when she came up on stage for a bow: the crowd seemed truly impressed.
The work Saudade has been recorded by the Lithuanian State Symphony Orchestra conducted by Giedrė Šlekytė, and is available on the Ondine label. It is highly recommended.
Richard Strauss’ Brentano-Lieder, Op. 68, were composed in 1918 following a lengthy break from lieder composition, and on the heels of completing ROSENKAVALIER, both versions of ARIADNE AUF NAXOS, and DIE FRAU OHNE SCHATTEN. This is relevant because you can hear all three of these operas in these Brentano songs, and that is perhaps the reason they are infrequently performed as a set: the style of composition is so different from song to song that it’s difficult to find as singer who can cover the full spectrum of Straussian styles in less than 25 minutes. Over the years, some of these songs have been performed at the Philharmonic, by Beverly Sills, Kathleen Battle, Barbara Bonney, and Deborah Voigt, but they did not sing the same songs.
Above: Golda Schultz, photo by Gregor Röhrig
Fortunately the orchestra found an interpreter who managed to not only survive the challenge, but do so with flying colors. Young South African soprano Golda Schultz, who now resides in Bavaria, made a stunning Philharmonic debut with these performances. She has a silky, beautiful voice, even throughout the range, from a secure bottom (which she wisely does not force) to a ringing and full top. “Säus’le, liebe Myrtle!” and “Amor” could be outtakes from Zerbinetta, the more thoughtful in the former and coquettish in the latter, and Ms. Schutlz managed the runs and playful coloratura with aplomb. The lyrical yearning of “An die Nacht” could be Sophie’s wedding night jitters, and wildly passionate “Als mir din Lied erklang” a desperate outburst of the Composer. Ms. Schultz already sings Sophie and I think she’d make a marvelous Composer too. (Originated by Lotte Lehmann, it’s not really supposed to be sung by mezzo-sopranos.) And finally DIE FRAU OHNE SCHATTEN comes blaring in with an Empress-inspired “Ich wolf ein Sträußlein binden” – lyrical and passionate, with some light coloratura, Ms. Schultz never pushed her voice, but showed a simple pleasure of passion and signing. The final song of the cycle, “Lied Der Frauen,” is something the Dyer’s Wife could have sung. Perhaps here Ms. Schultz was reaching the limits of her current vocal comfort, but she did not become desperate and Maestro Rouvali did not allow the orchestra (massive, echt-Strauss sound) to cover her. If the Dyer’s Wife – a vocally brutal role – would be beyond Ms. Schultz’ natural capabilities, I think the Empress is a role she should seriously consider taking on. Ms. Schultz is an exciting young singer and was greeted appreciably by the audience. (…which did applaud after each song…but what can you do?)
Santtu-Matias Rouvali (above, photo by Chris Lee) concluded the concert with Tchaikovsky’s familiar Symphony No. 5. It is a long favorite of the public, even though after the premiere Tchaikovsky – in his typical manner – declared it his worst composition and that the public only pretended to like it. Perhaps Maestro Rouvali took the slow parts a bit too slow, they began dragging from the opening pages of the score. But anything above Adagio took on a playful pep and interesting rhythms. The Valse was perhaps the most successful of the movements, a warm and well judged pacing, lovingly shaped by the orchestra. The finale, too, was thrilling. This is music the orchestra has played many times and they seem to relish it once again.
Since NY Philharmonic music director Jaap van Zweden is leaving the Philharmonic, people are speculating that every conductor who steps on the podium is auditioning for the post. This is certainly true of Maestro Rouvali. New York could certainly do much worse. I’d argue it has. Worth noting currently Rouvali is principal conductor of the Philharmonia Orchestra, chief conductor of the Gothenburg Symphony, and chief conductor and artistic director of the Tampere Philharmonic Orchestra.
Another interesting note on the state of the current Covid-19 pandemic and wearing of masks. One thing that has historically been difficult not to notice is how noisy NYC audiences frequently are. Many nights – and not only in the cold season – it sounds like a consumption ward with someone hacking up a lung every moment of a concert. This was not the case at this concert. One thing the CDC has noted is that, no doubt due to wearing of masks, very few people have gotten sick with the common cold. I don’t think I heard a single cough at this concert. I think perhaps we should make the wearing of masks mandatory at all times going forward.
~ Ben Weaver -
Romantic Perspectives @ Chamber Music Society
Above: pianist Wu Han
Sunday January 39th, 2022 – This evening’s program at Chamber Music Society of Lincoln Center, entitled Romantic Perspectives, was truly a soul-warming experience, following a week of cold weather and a gusty snowstorm the previous day.
The program got off to an exciting start with a performance of the Scherzo from Johannes Brahms’s “F-A-E” Sonata for Violin and Piano, dating from 1853. With Wu Han at the piano, violinist Chad Hoopes brought real flair to his playing. From the buzzy opening, the two musicians were in perfect sync. This Scherzo has a lyrical interlude, wherein the players’ dynamics meshed ideally; then, back to a lively allegro. What an exhilarating way to start a concert!
Next came a spectacular performance of Gustav Mahler’s sole work in the chamber music genre: the Quartet in A-minor for Piano, Violin, Viola, and Cello, composed in 1876. Violinist Danbi Um, elegant in a ruffled ultramarine tulle gown, led her colleagues onstage. Before taking her place at the Steinway, Wu Han stepped forward to introduce us to two young musicians making their CMS debuts this evening: violist Timothy Ridout, and cellist Sihao He.
No pianist can establish a musical mood quite like like Wu Han does; with the deep, brooding opening measures of the Mahler, she immediately drew us in. The fabulous sound Sihao He summons from his cello was soon blending with Mr. Ridout’s handsome viola tone and the silken magic of Ms. Um’s violin. As the single movement progressed, the four musicians took us deeper and deeper into the music, their playing resplendently full-bodied and thrillingly intense. Passions ebb and flow, and then a darkish calm settles over us. Ms. Um’s exquisite playing, and the extraordinarily poetic phrasing of Mssrs. Ridout and He, were all underscored by Wu Han’s captivating dynamic mastery. It seemed impossible to think that only four players could produce such an ‘orchestral’ sound; their performance moved me deeply.
Above: violist Timothy Ridout
Composed in 1861, Antonín Dvořák‘s Quintet in A-minor for Two Violins, Two Violas, and Cello, Op.1, brought together the evening’s full string contingent: violinists Danbi Um and Chad Hoopes, violists Paul Neubauer and Timothy Ridout, and cellist Sihao He.
Written when Dvořák was twenty years old, this quintet was the first of his works to be ascribed an opus number. In the opening Adagio — Allegro ma non troppo, the unison slow introduction gives way to a dancing, animated feeling. The tone qualities of the five musicians were perfectly integrated, with Mr. Hoopes excelling in the numerous melodic flights for violin, nimbly seconded by Ms. Um; and Sihao He amplified the beautiful impression he had made in the Mahler. This movement has an unusual ending.
The ensuing Lento brings forth cantabile melodies; the main theme is taken up by Mr. Ridout’s viola (Dvořák’s own instrument) playing over a rhythmical accompaniment provided by the other players. The middle section of the movement provides a fresh theme, after which we hear a reprise of the introductory melody. The composer gives both violists ample opportunity here, and the contrasting timbres of Mssrs. Neubauer and Ridout were savourable indeed. The violins play in unison, then Mr. Hoopes again moved me with a high-lying passage. A swaying mood develops, and a rising violin motif leads us to the movement’s finish
The quartet’s Finale – Allegro con brio involves three primary themes. The marvelous sound of Sihao He’s cello was continually alluring to the ear, and Mr. Ridout again shone in a songful passage. The superb blend these five artists achieved carried us on to the work’s ending, hailed by the crowd with warm applause.
It is interesting to note that Dvořák seemingly never heard his opus 1; its first public performance came seventeen years after his death, and it was not published until 1943.
Above: cellist Sihao He
Having recently enjoyed Maxim Vengerov’s stunning performance of César Franck‘s Violin Concerto at Carnegie Hall, I was definitely in the mood for more of Franck’s music. This evening’s CMS program ended with the composer’s Quintet in F-minor for Piano, Two Violins, Viola, and Cello, dating from 1879.
With a descending phrase from Danbi Um, the passionate slow introduction to the first movement is underway. Wu Han’s gorgeous entry has a hesitant feeling, as if the composer is not quite sure where he wants to take us; a rather fitful acceleration finally achieves Allegro status. Now all five players begin to pass the melodies from one to another. Mr. Neubauer’s dusky viola, Wu Han’s magical piano, the lovely sense of longing from Danbi Um’s violin, the poignant sound of Sihao He’s cello…all combined as the music turns huge. In this movement, a melody of chromatic half-steps is heard, creating a musical tension which our players today clearly relished.
The second movement, marked Lento, con molto sentimento, begins with a haunting theme from Wu Han’s keyboard, and sublime lyricism from Danbi Um. The chromaticism which awoke in the opening movement becomes more pervasive now, with Ms. Um and Mr. He trading phrases. Wu Han’s playing is heavenly, and the cellist is simply stunning. The music builds in grandeur and then dissipates, becoming celestial. Mr. Neubauer’s lovely viola passage, ethereal sounds from the piano, and Danbi Um’s haunting violin draw the movement to a tender finish.
Chad Hoopes opens the final movement with a bustling motif, joined by Ms. Um in an agitato mode. The strings play the work’s main melody in unison, with a vibrant crescendo. A brief, sweet song from Danbi Um leads to a big build-up of sound and emotion as the quintet sails onward to an epic finale.
A full-house standing ovation greeted the players, who were called back for a second bow, much to everyone’s delight.
~ Oberon
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Maureen Forrester ~ Kindertotenlieder
The great Canadian contralto Maureen Forrester sings Gustav Mahler’s Kindertotenlieder, which she recorded with the Boston Symphony Orchestra under Charles Munch’s baton in 1958.
Listen here.
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Corelli/Guelfi ~ FORZA DEL DESTINO – scenes
Franco Corelli and Giangiacomo Guelfi in scenes from Verdi’s LA FORZA DEL DESTINO from an RAI broadcast in 1956. Arturo Basile conducts.
Listen here.
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Corelli/Guelfi ~ FORZA DEL DESTINO – scenes
Franco Corelli and Giangiacomo Guelfi in scenes from Verdi’s LA FORZA DEL DESTINO from an RAI broadcast in 1956. Arturo Basile conducts.
Listen here.
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LA BOHEME @ Macerata ~ 1977
An audio-only recording of a performance of BOHEME given at Macerata in 1977 with Raina Kabaivanska (Mimi), José Carreras (Rodolfo), Elvida Ferracuti (Musetta). Rolando Panerai (Marcello), and Carlo Cava (Colline). Ferruccio Scaglia conducts.
Listen here.
The sound of planes passing over is an occasional distraction.
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Lina Cavalieri
Soprano Lina Cavalieri was considered one of the great beauties of her day.
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Narrative and Curse
Helen Traubel sings – magnificently – Isolde’s Narrative and Curse from the first act of Wagner’s TRISTAN UND ISOLDE.
Helen Traubel – Isolde’s Narrative and Curse – Rodzinski cond
“With the gleaming sword,
I stood over him,
Ready to avenge Morold’s death.He looked up – not at the sword,
not at my hand –
he looked into my eyes.
His anguish
touched my heart.
The sword…I let it fall!His wound I healed so that he could travel homeward…and no longer trouble me with his gaze.”
Oberon's Glade 
