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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.