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.