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It’s regular for star singers rehearsing Along with the Metropolitan Opera to supply time for practically any recital Even though they’re in Major apple. But the remaining outcome are unquestionably not Ordinarily this thing to consider-grabbing.

The mezzo-soprano Magdalena Kozena Besides the conductor Simon Rattle, who'll be married, could Potentially be demonstrating up nauka gry na keyboardzie in two months in Strauss’s “Der Rosenkavalier” with your Understood: Ms. Kozena sings Octavian, and Mr. Rattle is throughout the pit. But on Tuesday, joined by 6 other musicians, with Mr. Rattle on piano, they introduced a Outstanding, novel and demanding Personal computer computer software at Alice Tully Corridor. (Beforehand of this twelve months, they launched a recording based on This technique, “Soirée,” concerning the Pentatone label.)

Ms. Kozena picked new songs which had been starting to be like chamber is powerful for voice and several combos of instruments, starting with Chausson’s rarely listened to, and ravishing, “Chanson Perpétuelle,” a 7-minute positioning of a Symbolist poem by Charles Cros for singer, string quartet and piano. The textual posting written content is normally a far more youthful Woman’s fraught account of The individual who deserted her, recognized to curiously melting lyrical traces, with events of frayed depth.

Ms. Kozena sang with influencing warmth and shimmering audio, supported by lush, agitated strings (the violinists Giovanni Guzzo and Rahel Maria Rilling, the violist Amihai Grosz together with cellist Dávid Adorján) Other than a piano alive with tremolos.

One more get The approach performed, also inexplicably scarce, was Stravinsky’s “Numerous Tracks of William Shakespeare” (1953), above the listing of composer’s 1st ventures into twelve-tone audio, scored for voice, flute (Kaspar Zehnder), clarinet (Andrew Marriner) and viola. Ms. Kozena gave a beguiling essential effectiveness of the skittish and coolly superb verified, Especially the slyly sweet “Musick to heare.”

The Shakespeare material ongoing with Strauss’s “Drei Lieder der Ophelia,” the only real genuine true audio on This process as aspect of your respective normal pairing of voice and piano. Strauss captures Ophelia’s instability in tunes that slips One of several sumptuous lyrical flights and bouts of fractured eeriness. Mr. Rattle introduced fragile 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 elements are like equivalent associates within a dialogue While employing the voice. And, Despite the fact that employing the Strauss tunes continue to refreshing while when throughout the ear, it had been intriguing to listen to Brahms’s “Ophelia-Lieder,” individuals right this moment songs-like configurations of A very good number of of a similar Shakespeare texts, executed suitable accurate below inside of an arrangement for voice and thick-textured string quartet by Aribert Reimann.

For the summary of the recital, Ms. Kozena took us to her Czech homeland. She sang Janacek’s “Nursery Rhymes” for voice, piano and clarinet, which had a touch of wailing klezmer On this feisty All over-all performance. Then she done with six Dvorak tracks, billed remedies of Adult males and women texts that recount the travails and absurdities of rural Technique for daily life. Discussed stated on this page, ultimate Despite the fact that not the pretty the quite least, all 8 performers joined with one another.

Staying an encore, Ms. Kozena gave a poignant account of Strauss’s “Morgen.” Mr. Guzzo performed the melancholy violin melody affectingly, Despite the fact that Mr. Rattle reverently rendered the orchestra on your piano, Together with the Some Many others signing up for in on your control’s consoling summary.

Magdalena Kozena

Accomplished on Tuesday at Alice Tully Corridor, Lincoln Middle.

It’s commonplace for star singers rehearsing through the entire Metropolitan Opera to build time into your recital Regardless that they’re in The massive apple. But the outcomes are Completely not consistently this detect-grabbing.

The mezzo-soprano Magdalena Kozena together with the conductor Simon Rattle, who'll be married, will most probably be exhibiting up in two months in Strauss’s “Der Rosenkavalier” for that Attained: Ms. Kozena sings Octavian, and Mr. Rattle is through the total pit. But on Tuesday, joined by 6 other musicians, with Mr. Rattle on piano, they supplied a distinctive, novel and demanding method at Alice Tully Corridor. (Forward of this twelve months, they produced a recording dependant on This technique, “Soirée,” within the Pentatone label.)

Ms. Kozena picked tunes which ended up like chamber performs for voice and Quite a few mixtures of devices, beginning with Chausson’s Practically by no means listened to, and ravishing, “Chanson Perpétuelle,” a seven-future locale within the Symbolist poem by Charles Cros for singer, string quartet and piano. The textual article content is in truth a young Woman’s fraught account of The person who deserted her, established to curiously melting lyrical traces, with occasions of frayed depth.

Ms. Kozena sang with influencing heat and shimmering seem, supported by lush, agitated strings (the violinists Giovanni Guzzo and Rahel Maria Rilling, the violist Amihai Grosz and Also the cellist Dávid Adorján) and Also a piano alive with tremolos.

An additional get The job done, also inexplicably abnormal, was Stravinsky’s “three Tracks of William Shakespeare” (1953), Amongst the composer’s initially ventures into twelve-tone audio, scored for voice, flute (Kaspar Zehnder), clarinet (Andrew Marriner) and viola. Ms. Kozena gave a beguiling critical features of the skittish and coolly wonderful Established, Specifically the slyly sweet “Musick to heare.”

The Shakespeare situation ongoing with Strauss’s “Drei Lieder der Ophelia,” the sole tracks on This method for your personal usual 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,” whereby the piano, cello and flute pieces are like equal companions in just a dialogue Whilst employing the voice. And, As well as the Strauss tunes even now up to date new new throughout the ear, nuty literowe it were intriguing to listen to Brahms’s “Ophelia-Lieder,” persons currently audio-like configurations of many of just particularly the identical Shakespeare texts, executed beneath inside just an arrangement for voice and thick-textured string quartet by Aribert Reimann.

In the summary of the recital, Ms. Kozena took us to her Czech homeland. She sang Janacek’s “Nursery Rhymes” for voice, piano and clarinet, which knowledgeable a Contact of wailing klezmer In the midst of this feisty effectiveness. Then she concluded with six Dvorak audio, billed selections of people today texts that recount the travails and absurdities of rural Method of lifestyle. Beneath, In the long run, all eight performers joined with one another.

As an encore, Ms. Kozena gave a poignant account of Strauss’s “Morgen.” Mr. Guzzo carried out the melancholy violin melody affectingly, Though Mr. Rattle reverently rendered the orchestra with the piano, Even though using the Some Some others signing up for in for that observe’s consoling summary.

Magdalena Kozena

Executed on Tuesday at Alice Tully Corridor, Lincoln Centre.

It’s not unusual for star singers rehearsing within the Metropolitan Opera to provide time in your recital Although they’re in Significant apple. But the outcome commonly ordinarily usually are not commonly this consideration-grabbing.

The mezzo-soprano Magdalena Kozena as well as conductor Simon Rattle, which have been married, are very likely to be demonstrating up in two months in Strauss’s “Der Rosenkavalier” into the Reached: Ms. Kozena sings Octavian, and Mr. Rattle is Within the pit. But on Tuesday, joined by 6 other musicians, with Mr. Rattle on piano, they produced obtainable a diverse, novel and demanding software package offer at Alice Tully Corridor. (Previously this twelve months, they released a recording primarily based primarily on This system, “Soirée,” throughout the Pentatone label.)

Ms. Kozena selected tunes which were like chamber performs for voice and numerous mixtures of units, beginning with Chausson’s hardly listened to, and ravishing, “Chanson Perpétuelle,” a 7-moment place inside the Symbolist poem by Charles Cros for singer, string quartet and piano. The textual information and facts is likely to be a youthful Girl’s fraught account of The person who deserted her, set to curiously nuty melting lyrical traces, with scenarios of frayed depth.

Ms. Kozena sang with impacting warmth and shimmering truly feel, supported by lush, agitated strings (the violinists Giovanni Guzzo and Rahel Maria Rilling, the violist Amihai Grosz furthermore the cellist Dávid Adorján) and Furthermore a piano alive with tremolos.

The subsequent perform, also inexplicably unheard of, was Stravinsky’s “Two or three Tunes of William Shakespeare” (1953), one of many composer’s extremely 1st ventures into twelve-tone new new new music, scored for voice, flute (Kaspar Zehnder), clarinet (Andrew Marriner) and viola. Ms. Kozena gave a beguiling general performance of this skittish and coolly astounding established, Specially the slyly sweet “Musick to heare.”

The Shakespeare notion continued with Strauss’s “Drei Lieder der Ophelia,” the a person tunes on This system Along with the Regular pairing of voice and piano. Strauss captures Ophelia’s instability in audio that slips between sumptuous lyrical flights and bouts of fractured eeriness. Mr. Rattle Geared up sensitive 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 factors are like equal companions inside of a dialogue Making use of the voice. And, Together with the Strauss tunes even now carefully cleanse through the ear, it were being intriguing to pay attention to Brahms’s “Ophelia-Lieder,” folks tune-like solutions of a great deal of of the exact same Shakespeare texts, executed proven right here in just an arrangement for voice and thick-textured string quartet by Aribert Reimann.

Along with 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 competent a touch of wailing klezmer Applying this feisty ordinary normal efficiency. Then she completed with 6 Dvorak tracks, billed options of persons texts that recount the travails and absurdities of rural Daily life type. Demonstrated ideal below, inevitably, all 8 performers joined jointly.

Starting to be an encore, Ms. Kozena gave a poignant account of Strauss’s “Morgen.” Mr. Guzzo executed the melancholy violin melody affectingly, though Mr. Rattle reverently rendered the orchestra about the piano, Combined with the Other individuals attending to be a member of in for that observe’s consoling summary.

Magdalena Kozena

Carried out on Tuesday at Alice Tully Corridor, Lincoln Middle.

It’s standard for star singers rehearsing within the Metropolitan Opera to supply time to obtain a recital even though they’re in Massive apple. But the last word results commonly will not be commonly this intriguing.

The mezzo-soprano Magdalena Kozena in addition to the conductor Simon Rattle, that happen to be married, will probably be exhibiting up in two weeks more info in Strauss’s “Der Rosenkavalier” through the Fulfilled: Ms. Kozena sings Octavian, and Mr. Rattle is with the pit. But on Tuesday, joined by 6 other musicians, with Mr. Rattle on piano, they launched a diversified, novel and demanding system at Alice Tully Hall. (Previously this 12 months, they unveiled a recording based on This system, “Soirée,” across the Pentatone label.)

Ms. Kozena chose tunes which were like chamber performs for voice and a range of mixtures of units, putting collectively with Chausson’s rarely read through by, and ravishing, “Chanson Perpétuelle,” a 7-moment location of your Symbolist poem by Charles Cros for singer, string quartet and piano. The textual content typically is actually a more youthful Lady’s fraught account of The person who deserted her, established to curiously melting lyrical traces, with instances of frayed depth.

Ms. Kozena sang with affecting warmth and shimmering audio, supported by lush, agitated strings (the violinists Giovanni Guzzo and Rahel Maria Rilling, the violist Amihai Grosz in addition the cellist Dávid Adorján) in addition to a piano alive with tremolos.

Yet one more do The function, also inexplicably uncommon, was Stravinsky’s “a few Tunes of William Shakespeare” (1953), certainly certainly one of several composer’s to begin with ventures into twelve-tone tunes, scored for voice, flute (Kaspar Zehnder), clarinet (Andrew Marriner) and viola. Ms. Kozena gave a beguiling general usefulness of the skittish and coolly great established, Notably the slyly sweet “Musick to heare.”

The Shakespeare notion ongoing with Strauss’s “Drei Lieder der Ophelia,” the a person tracks on This technique for that regular pairing of voice and piano. Strauss captures Ophelia’s instability in new new tunes that slips concerning sumptuous lyrical flights and bouts of fractured eeriness. Mr. Rattle introduced 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 regions are like equal companions during the dialogue With all the voice. And, Combined with the Strauss tunes Yet new even though over the ear, it had been remarkable to hear Brahms’s “Ophelia-Lieder,” individuals notice-like configurations of Quite a few of the exact same Shakespeare texts, executed underneath inside an arrangement for voice and thick-textured string quartet by Aribert Reimann.

To the summary of the recital, Ms. Kozena took us to her Czech homeland. She sang Janacek’s “Nursery Rhymes” for voice, piano and clarinet, which had a contact of wailing klezmer With this feisty functionality. Then she finished with six Dvorak tunes, billed picks of folks texts that recount the travails and absurdities of rural lifestyle. Specific shown in this article, past but not the very least, all 8 performers joined with one another.

Currently being an encore, Ms. Kozena gave a poignant account of Strauss’s “Morgen.” Mr. Guzzo played the melancholy violin melody affectingly, Although Mr. Rattle reverently rendered the orchestra through the entire piano, Using the others beginning to be a member of in With every one of the watch’s consoling summary.

Magdalena Kozena

Finished on Tuesday at Alice Tully Corridor, Lincoln Centre.

It’s common for star singers rehearsing to the Metropolitan Opera to generate time for just a recital however they’re in Ny. But the end result will not be normally this intriguing.

The mezzo-soprano Magdalena Kozena as well as conductor Simon Rattle, who're married, will probably be displaying up in two months in Strauss’s “Der Rosenkavalier” to the Obtained: Ms. Kozena sings Octavian, and Mr. Rattle is within the pit. But on Tuesday, joined by six other musicians, with Mr. Rattle on piano, they made available a varied, novel and demanding application at Alice Tully Corridor. (Before this yr, they unveiled a recording dependant on This system, “Soirée,” within the Pentatone label.)

Ms. Kozena chose tunes which were like chamber is powerful for voice and numerous mixtures of gadgets, commencing with Chausson’s rarely read, and ravishing, “Chanson Perpétuelle,” a seven-minute location of a Symbolist poem by Charles Cros for singer, string quartet and piano. The text can be a young Lady’s fraught account of The person who deserted her, established to curiously melting lyrical traces, with periods of frayed depth.

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 along with the cellist Dávid Adorján) as well as a piano alive with tremolos.

The next do the job, also inexplicably unusual, was Stravinsky’s “Several Tunes of William Shakespeare” (1953), within the list of composer’s initially ventures into twelve-tone songs, scored for voice, flute (Kaspar Zehnder), clarinet (Andrew Marriner) and viola. Ms. Kozena gave a beguiling features of this skittish and coolly remarkable set up, Specifically the slyly sweet “Musick to heare.”

The Shakespeare concept ongoing with Strauss’s “Drei Lieder der Ophelia,” the sole true tunes on This system in your ordinary pairing of voice and piano. Strauss captures Ophelia’s instability in tunes that slips relating to sumptuous lyrical flights and bouts of fractured eeriness. Mr. Rattle equipped delicate and articulate accompaniment to Ms. Kozena’s eloquent singing.

She sounded sensual and earthy in Ravel’s intoxicating “Chansons Madécasses,” through which the piano, cello and flute elements are like equal companions within a dialogue Using the voice. And, Utilizing the Strauss tracks continue on to present-day while from the ear, it was intriguing to pay attention to Brahms’s “Ophelia-Lieder,” people monitor-like settings of a variety of of the exact same Shakespeare texts, executed stated in this article within an arrangement for voice and thick-textured string quartet by Aribert Reimann.

At the end of the recital, Ms. Kozena took us to her Czech homeland. She sang Janacek’s “Nursery Rhymes” for voice, piano and clarinet, which seasoned a touch of wailing klezmer Within this feisty overall general performance. Then she finished with 6 Dvorak tunes, nuty na keyboard abba ojcze billed configurations of folks texts that recount the travails and absurdities of rural life. On this page, ultimately, all 8 performers joined collectively.

Becoming an encore, Ms. Kozena gave a poignant account of Strauss’s “Morgen.” Mr. Guzzo played the melancholy violin melody affectingly, nevertheless Mr. Rattle reverently rendered the orchestra to your piano, Even though utilizing the Other men and women becoming a member of in into the new music’s consoling summary.

Magdalena Kozena

Executed on Tuesday at Alice Tully Hall, Lincoln Heart.

It’s not unusual for star singers rehearsing With all the Metropolitan Opera to make time on your recital Regardless that they’re in The large apple. But the ultimate benefits tend to be not frequently this interesting.

The mezzo-soprano Magdalena Kozena plus the conductor Simon Rattle, who'll be married, will be appearing in two months in Strauss’s “Der Rosenkavalier” for the Pleased: Ms. Kozena sings Octavian, and Mr. Rattle is in the pit. But on Tuesday, joined by 6 other musicians, with Mr. Rattle on piano, they released a diversified, novel and demanding application at Alice Tully Corridor. (Ahead of this calendar 12 months, they introduced a recording based on This system, “Soirée,” throughout the Pentatone label.)

Ms. Kozena chosen tracks which were being like chamber will get the job done for voice and many different mixtures of instruments, creating with Chausson’s rarely study, and ravishing, “Chanson Perpétuelle,” a seven-instant environment of a Symbolist poem by Charles Cros for singer, string quartet and piano. The textual content material can be quite a young woman’s fraught account of The person who deserted her, founded to curiously melting lyrical strains, with occasions of frayed depth.

Ms. Kozena sang with influencing warmth and shimmering audio, supported by lush, agitated strings (the violinists Giovanni Guzzo and Rahel Maria Rilling, the violist Amihai Grosz plus the cellist Additional resources Dávid Adorján) and a piano alive with tremolos.

The next do the job, also inexplicably Fantastic, was Stravinsky’s “Three Tunes of William Shakespeare” (1953), Among the many listing of composer’s very first ventures into twelve-tone audio, scored for voice, flute (Kaspar Zehnder), clarinet (Andrew Marriner) and viola. Ms. Kozena gave a beguiling success of the skittish and coolly fantastic founded, Significantly the slyly sweet “Musick to heare.”

The Shakespeare topic continued with Strauss’s “Drei Lieder der Ophelia,” the only tunes on This system With all the regular pairing of voice and piano. Strauss captures Ophelia’s instability in songs that slips between 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,” in the course of which the piano, cello and flute sections are like equivalent associates in an incredibly dialogue Although utilizing the voice. And, Combined with the Strauss tunes Even so modern during the ear, it absolutely was intriguing to pay attention to Brahms’s “Ophelia-Lieder,” individuals observe-like configurations of several of the very same Shakespeare texts, performed suitable listed here inside of 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 Within just this feisty effectiveness. Then she concluded with 6 Dvorak songs, billed configurations of folks texts that recount the travails and absurdities of rural daily life. Here, lastly, all 8 performers joined collectively.

Getting an encore, Ms. Kozena gave a poignant account of Strauss’s “Morgen.” Mr. Guzzo played the melancholy violin melody affectingly, when Mr. Rattle reverently rendered the orchestra for the piano, Along with the others signing up for in for that tune’s consoling conclusion.

Magdalena Kozena

Executed on Tuesday at Alice Tully Hall, Lincoln Coronary heart.