Nina Stemme and Magnus Svensson. Photograph: Wigmore Hall Trust<\/figcaption><\/figure>\nWagner \u2013 <\/strong>Wesendonck-Lieder
<\/em>Wagner-Liszt \u2013 <\/strong>Am stillen Herd aus Richard Wagner\u2019s \u2018Meistersinger\u2019<\/em>, S 448
Sigurd von Koch \u2013 <\/strong>Die geheimnisvolle Fl\u00f6te
<\/em>Mahler \u2013 <\/strong>Kindertotenlieder
<\/em>Weill \u2013 <\/strong>Happy End<\/em>: \u2018Surabaya Johnny\u2019; Nannas Lied<\/em>; Youkali<\/em><\/p>\nWhat it’s to listen to a fantastic voice akin to Nina Stemme\u2019s at shut quarters. Doubtless there will likely be some \u2013 there at all times are \u2013 for whom this was not, in keeping with their very own arbitrary definition, \u2018true Lieder<\/em> singing\u2019. (They in all probability stated the identical about Dietrich Fischer-Dieskau, although would deny it now.) Such foolish, anti-operatic snobbery apart, although, anybody really listening to Stemme\u2019s method with phrases, right here on the Wigmore Hall simply as on the stage at Covent Garden or Bayreuth, can have heard that it was exactly that, furthered by a voice that by no means wanted to pressure, but which by no means sounded too huge, and which sounded as if it may have gone on all night time.<\/p>\nThe Wesendonck-Lieder<\/em> are maybe not the best place to start, chilly, however right here was the hochdramatisch<\/em> factor from the beginning. The measurement of Stemme\u2019s voice was obvious, in fact, however so too have been seemingly limitless reserves of breath. Hardly surprisingly, echoes \u2013 presentiments, actually \u2013 of Tristan und Isolde<\/em> have been heard. And the leisure of the near the opening \u2018Stehe still!\u2019 was indicative of an strategy that might and did take its time, seeing no purpose to hurry, with out even the slightest trace of dragging. Magnus Svensson proved a supportive pianist, however this was actually Stemme\u2019s present, \u2018Der Engel\u2019 starting with relative intimacy, blooming at her behest, the piano in tandem. There was a little bit of Isolde on stage too, Stemme gazing into the space within the piano introductions to \u2018Im Treibhaus\u2019 and \u2018Tr\u00e4ume\u2019: not stagey, however quite poised. The former\u2019s tessitura permitted a style of what her Brang\u00e4ne might need been like too. Ringing high notes in \u2018Schmerzen\u2019 and \u2018Tr\u00e4ume\u2019 alike, the previous resulting in a very exultant climax, the latter\u2019s detailed colouring, every reiteration of the phrase \u2018Tr\u00e4ume\u2019 subtly completely different, a pleasure in itself. If Svensson\u2019s solo rendition of Liszt\u2019s Meistersinger<\/em> paraphrase proved a little bit stiff, freer the extra it grew to become Liszt correct, then it was a welcome alternative to listen to a real rarity.<\/p>\nAnother rarity was Sigurd von Koch\u2019s 1916 song-cycle, Die geheimnisvolle Fl\u00f6te<\/em>, in a well-judged efficiency that may have been ready for a repertoire work. Setting poems from Hans Bethge\u2019s assortment Die chinesische Fl\u00f6te<\/em>, identified to many musicians from Mahler\u2019s Das Lied von der Erde<\/em>, Koch provides well-crafted responses, firmly rooted in German track custom, but with occasional hints of one thing extra Debussyan (in concord, quite than word-setting). Stemme and Svensson handled every of the 5 songs individually, with their very own moods, but additionally as a part of a higher complete. The disappointment of \u2018Traurig Fr\u00fchlingsnacht\u2019 and the darkish defiance of the closing \u2018Herbstgef\u00fchl\u2019 \u2013 no light autumnal \u2013 have been particularly fascinating, the latter fairly one thing in efficiency.<\/p>\nMahler\u2019s Kindertotenlieder<\/em> is, in fact, completely central to the repertoire, extra typically heard in orchestral guise, but with such readability and spareness heard right here maybe sounding each extra starkly modernist and nearer to Bach. Stemme provided nice readability too, each of line and of objective, although she was definitely not deaf to Mahler\u2019s irony, a pleasant hyperlink to the Weill songs to return. If it have been troublesome not to think about this efficiency in some sense as \u2018operatic\u2019, it was definitely not so in a damaging method. As within the Wesendonck-Lieder<\/em>, Stemme was not afraid to color with tuning, an indication of well-placed confidence in addition to inventive judgement. She, in addition to Svensson, used concord \u2013 as an example on the phrases \u2018O Augen\u2019 within the second track \u2013 to evoke Wagnerian thriller. The depth of \u2018Wenn dein M\u00fctterlein\u2019 gave solution to nonetheless higher disappointment, once more not with out irony or certainly simple delusion, in \u2018Oft denk\u2019 ich sie sind nur augegangen\u2019. True Mahlerian horror was unleashed within the closing \u2018In diesem Wetter, in diesem Braus\u2019, the hallucinatory last stanza a correct inheritor to Winterreise<\/em>. (Now there’s an intriguing prospect.)<\/p>\nStemme\u2019s use of phrases was essential in Weill \u2013 with and with out Brecht \u2013 through which three songs she continued to carry the viewers within the palm of her hand. Svensson\u2019s pianism appeared simply the factor right here too, idiomatic all through. So vividly communicative was Nannas Lied<\/em> that certainly a listener with out texts and and not using a phrase of German would have had a powerful thought of the \u2018Liebesmarkt\u2019 and the challenges of transferring past \u2018siebzehn\u2019. The tango rhythms of Youkali<\/em> provided nonetheless extra alluring cabaret, additionally \u2013 maybe oddly \u2013 making me assume we have to hear Stemme in Schoenberg, from the cabaret of the Brettl-Lieder<\/em> to full-throated Erwartung<\/em>. As an encore we heard the Broadway Weill: \u2018My Ship\u2019 from Lady within the Dark<\/em>, despatched certainly with sails product of silk, Stemme\u2019s English as excellent as her German. Wonderful!<\/p>\nMark Berry<\/em><\/strong><\/p>\n<\/div>\n[ad_2]<\/p>\n","protected":false},"excerpt":{"rendered":"
[ad_1] United Kingdom\u00a0Wagner, Liszt, Koch, Mahler, and Weill: Nina Stemme (soprano), Magnus Svensson (piano). Wigmore Hall, London, 2.3.2023. (MB) Nina Stemme and Magnus Svensson. Photograph: Wigmore Hall Trust Wagner \u2013 Wesendonck-LiederWagner-Liszt \u2013 Am stillen Herd aus Richard Wagner\u2019s \u2018Meistersinger\u2019, S 448Sigurd von Koch \u2013 Die geheimnisvolle Fl\u00f6teMahler \u2013 KindertotenliederWeill \u2013 Happy End: \u2018Surabaya Johnny\u2019; Nannas […]<\/p>\n","protected":false},"author":1,"featured_media":76580,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[35],"tags":[],"class_list":{"0":"post-76578","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-theatre"},"_links":{"self":[{"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/posts\/76578","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/comments?post=76578"}],"version-history":[{"count":0,"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/posts\/76578\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/media\/76580"}],"wp:attachment":[{"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/media?parent=76578"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/categories?post=76578"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/tags?post=76578"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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