It’s commonplace for star singers rehearsing at the Metropolitan Opera to make time for your recital even though they’re in The big apple. But the outcomes usually are not generally this interesting.

The mezzo-soprano Magdalena Kozena and the conductor Simon Rattle, that are married, will likely be showing up in two weeks in Strauss’s “Der Rosenkavalier” at the Achieved: Ms. Kozena sings Octavian, and Mr. Rattle is in https://nutyliterowe.pl the pit. But on Tuesday, joined by 6 other musicians, with Mr. Rattle on piano, they presented a diverse, novel and demanding system at Alice Tully Corridor. (Earlier this year, they produced a recording based upon the program, “Soirée,” about the Pentatone label.)

Ms. Kozena selected music that were like chamber performs for voice and a variety of combinations of instruments, setting up with Chausson’s seldom heard, and ravishing, “Chanson Perpétuelle,” a 7-minute placing of a Symbolist poem by Charles Cros for singer, string quartet and piano. The textual content is often a younger female’s fraught account of the man who deserted her, set to curiously melting lyrical strains, with moments of frayed intensity.

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

The subsequent get the job done, also inexplicably scarce, was Stravinsky’s “Three Music of William Shakespeare” (1953), among the composer’s initial ventures into twelve-tone new music, scored for voice, flute (Kaspar Zehnder), clarinet (Andrew Marriner) and viola. Ms. Kozena gave a beguiling general performance of the skittish and coolly fantastic set, Primarily the slyly sweet “Musick to heare.”

The Shakespeare topic ongoing with Strauss’s “Drei Lieder der Ophelia,” the only tracks on the program for the common pairing of voice and piano. Strauss captures Ophelia’s instability in audio that slips concerning sumptuous lyrical flights and bouts of fractured eeriness. Mr. Rattle supplied sensitive and articulate accompaniment to Ms. Kozena’s eloquent singing.

She sounded sensual and earthy in Ravel’s intoxicating “Chansons Madécasses,” in which the piano, cello and flute areas are like equivalent partners inside a dialogue Using the voice. And, Together with the Strauss music still refreshing inside the ear, it absolutely was fascinating to listen to Brahms’s “Ophelia-Lieder,” folks tune-like configurations of many of a similar Shakespeare texts, done right here in 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 had a hint of wailing klezmer On this feisty effectiveness. Then she ended with six Dvorak songs, charged configurations of people texts that recount the travails and absurdities of rural life. Below, last but not least, all eight performers joined collectively.

Being an encore, Ms. Kozena gave a poignant account of Strauss’s “Morgen.” Mr. Guzzo performed the melancholy violin melody affectingly, whilst Mr. Rattle reverently rendered the orchestra to the piano, While using the Other folks becoming a member of in with the music’s consoling summary.

Magdalena Kozena

Performed on Tuesday at Alice Tully Corridor, Lincoln Heart.