English Touring Opera are delighted to announce a season of lyric monodramas to tour nationally from October to December. The season features music for solo singer and piano by Argento, Britten, Tippett and Shostakovich with a bold and inventive approach to making opera during social distancing.
This tenth of ten Live from London concerts was in fact a recorded live performance from California. It was no less enjoyable for that, and it was also uplifting to learn that this wasn’t in fact the ‘last’ LfL event that we will be able to enjoy, courtesy of VOCES8 and their fellow vocal ensembles (more below …).
Ever since Wigmore Hall announced their superb series of autumn concerts, all streamed live and available free of charge, I’d been looking forward to this song recital by Ian Bostridge and Imogen Cooper.
Although Stile Antico’s programme article for their Live from London recital introduced their selection from the many treasures of the English Renaissance in the context of the theological debates and upheavals of the Tudor and Elizabethan years, their performance was more evocative of private chamber music than of public liturgy.
Evidently, face masks don’t stifle appreciative “Bravo!”s. And, reducing audience numbers doesn’t lower the volume of such acclamations. For, the audience at Wigmore Hall gave soprano Elizabeth Llewellyn and pianist Simon Lepper a greatly deserved warm reception and hearty response following this lunchtime recital of late-Romantic song.
For this week’s Live from London vocal recital we moved from the home of VOCES8, St Anne and St Agnes in the City of London, to Kings Place, where The Sixteen - who have been associate artists at the venue for some time - presented a programme of music and words bound together by the theme of ‘reflection’.
'Such is your divine Disposation that both you excellently understand, and royally entertaine the Exercise of Musicke.’
‘And there was war in heaven: Michael and his angels fought against the dragon; and the dragon fought and his angels, And prevailed not; neither was their place found any more in heaven … that old serpent … Satan, which deceiveth the whole world: he was cast out into the earth, and his angels were cast out with him.’
There was never any doubt that the fifth of the twelve Met Stars Live in Concert broadcasts was going to be a palpably intense and vivid event, as well as a musically stunning and theatrically enervating experience.
‘Love’ was the theme for this Live from London performance by Apollo5. Given the complexity and diversity of that human emotion, and Apollo5’s reputation for versatility and diverse repertoire, ranging from Renaissance choral music to jazz, from contemporary classical works to popular song, it was no surprise that their programme spanned 500 years and several musical styles.
The Academy of St Martin in the Fields have titled their autumn series of eight concerts - which are taking place at 5pm and 7.30pm on two Saturdays each month at their home venue in Trafalgar Square, and being filmed for streaming the following Thursday - ‘re:connect’.
The London Symphony Orchestra opened their Autumn 2020 season with a homage to Oliver Knussen, who died at the age of 66 in July 2018. The programme traced a national musical lineage through the twentieth century, from Britten to Knussen, on to Mark-Anthony Turnage, and entwining the LSO and Rattle too.
With the Live from London digital vocal festival entering the second half of the series, the festival’s host, VOCES8, returned to their home at St Annes and St Agnes in the City of London to present a sequence of ‘Choral Dances’ - vocal music inspired by dance, embracing diverse genres from the Renaissance madrigal to swing jazz.
Just a few unison string wriggles from the opening of Mozart’s overture to Le nozze di Figaro are enough to make any opera-lover perch on the edge of their seat, in excited anticipation of the drama in music to come, so there could be no other curtain-raiser for this Gala Concert at the Royal Opera House, the latest instalment from ‘their House’ to ‘our houses’.
"Before the ending of the day, creator of all things, we pray that, with your accustomed mercy, you may watch over us."
The doors at The Metropolitan Opera will not open to live audiences until 2021 at the earliest, and the likelihood of normal operatic life resuming in cities around the world looks but a distant dream at present. But, while we may not be invited from our homes into the opera house for some time yet, with its free daily screenings of past productions and its pay-per-view Met Stars Live in Concert series, the Met continues to bring opera into our homes.
Music-making at this year’s Grange Festival Opera may have fallen silent in June and July, but the country house and extensive grounds of The Grange provided an ideal setting for a weekend of twelve specially conceived ‘promenade’ performances encompassing music and dance.
There’s a “slide of harmony” and “all the bones leave your body at that moment and you collapse to the floor, it’s so extraordinary.”
“Music for a while, shall all your cares beguile.”
The hum of bees rising from myriad scented blooms; gentle strains of birdsong; the cheerful chatter of picnickers beside a still lake; decorous thwacks of leather on willow; song and music floating through the warm evening air.
Assured elegance, care and thoughtfulness characterised tenor James Gilchrist’s performance of Schubert’s Schwanengesang at the Wigmore Hall, the cycles’ two poets framing a compelling interpretation of Beethoven’s An die ferne Geliebte.
Indeed, it was Beethoven’s six songs (To the Distant Beloved) — settings of texts by the minor poet, Alois Jeitteles (1794-1858) which are united by the idea or motif of love filtered through images of the idealised pastoral — which were most imaginative and impressive, as Gilchrist and his accompanist Anna Tilbrook swept seamlessly through the sequence, conveying the impetuousness and naivety of the enamoured young poet-speaker and the all-encompassing nature of his obsession with his beloved.
In the opening song, Gilchrist’s light tone was just right for the young man’s nostalgic recollections of the distant meadows where he first met his loved one as well as the wistful sadness of their subsequent separation. The introspective yearning of the second song, in which the poet longs to be at his lover’s side was beautifully evoked. Tilbrook crafted a lovely melodic line in the second stanza, as the voice repeated a single note over several bars, perfectly embodying the sentiments of the text which paints an image of stillness and the quiet observation of nature: ‘Still die Primmel dort sinnt, /Weht so leise der Wind/ Möchte ich sein!’ (the primrose meditates in silence, and the wind blows so softly — there would I be!).
‘Leichter Segler in den Höhen’ (Light clouds sailing on high) was light of tread but had a rhythmic persuasiveness, and the move to the minor for the final stanzas was tellingly pointed; indeed, throughout the recital Tilbrook shaped the harmonic pathways with discernment. In this Beethoven sequence the varied, developing accompaniments were fresh and compelling, and transitions between songs fluently executed, with some well-judged pauses, relaxations and surges of tempo.
After the simplicity of the first five strophic forms, Gilchrist employed the through-composed structure of the final song to shape a convincing conclusion. In the slow opening line, ‘Nimm sie hin denn, diese lieder’ (Accept, then, these songs) the legato was disarming, and he made effective use of a hushed head voice as the sun’s rays faded ‘Hinter jener Bergeshöh’ (behind those mountain heights).
The smooth grace of Gilchrist’s tenor and his unmannered attentiveness to musical and verbal nuances seemed especially well-suited to these Beethoven song. Tilbrook, too, demonstrated a dexterous technique and thoughtful touch, creating fleeting textures to capture the ‘pure’ sounds of the romantic landscape.
Scubert’s Rellstab settings which opened the concert, though they share Beethoven’s theme of love for a distant beloved, were less settled and focused; despite Gilchrist’s close observance of detail and his mellifluous delivery, he didn’t quite capture the darker side of the spirit of ‘Sehnsucht’ which is innate to these songs. The most successful of the set were the final two, ‘In der Ferne’ (Far away) and ‘Abschied’ (Farewell), in which the colours and tempo perfectly matched the poetic sentiment.
There were some engaging individual readings too: ‘Kreigers Ahnung’ (Warrior’s foreboding) was slow and ominous of tempo, and Tilbrook created a sense of resounding expanse in the incisive rhythms and broad phrases. Gilchrist was unfailingly alert to the individual words and to the poem’s rapid fluctuations of mood, although occasionally such attentiveness resulted in a loss of naturalness: the line ‘Von Sehnsucht mir so heiß’ (so afire with longing) was deliberately heightened, not without effect, but its repetition was troubled by a wavering vibrato which weakened the melodic form — a problem that was not reserved for this song.
In ‘Ständchen’ (Serenade), Gilchrist displayed a soft gentleness ideal for embodying the nocturnal song and moonlit rustlings and whispers. And, in ‘Frühlings-Sehnsucht’ (Spring longing) he used vocal colour to create a searching air; the queries which end each stanza — ‘Wohin?’, ‘Warum?’, ‘Und Du?’ — were tentatively posed, rather than rhetorical, creating a touching vulnerability and pathos.
The Heine settings had more intensity and drama, not surprisingly as the poetry leaves behind Rellstab’s sighing breezes and rippling streams and enters bleaker realms of suffering and isolation. ‘Atlas’ was powerfully rhetorical, with Tilbrook’s accompaniment fittingly heavy and laboured, but Gilchrist still did not quite convince as one wholly wretched, who has the weight of the world, and its suffering, upon his shoulders. While ‘Ihr Bild’ (Her likeness) was beautifully restrained, ‘Das Fischermädchen’ (The fishermaiden) had a bright energy and warm optimism.
The performers shaped the emotional climax of ‘Die Stadt’ (The town) with skill. The cool distance of the opening, as the turrets of the town loom mistily on the remote horizon, built to a pained intensity in the final line, ‘Wo ich das Liebste verlor’ (where I lost what I loved most) as the sun-drenched vision of the poet-speaker’s painful memory gleamed forth. An adventurously wide dynamic range was employed to suggest the insidious presence and danger of the wraith which haunts the poet-speaker in the final song of the Heine sequence, ‘Der Doppelgänger’; and, once more, Gilchrist and Tilbrook graded the escalation of the speaker’s despair, the riskily slow tempo of the first stanza surging in the last, as the tone grew ever more fierce and piercing.
Throughout the programme, Gilchrist displayed an attractive, relaxed middle register, some interesting colours at the bottom and a dreamy head voice; but in the Schubert songs when the dynamic rose in the upper range the voice seemed somewhat tense. Tilbrook was alert to the word- and mood-painting in Schubert’s accompaniments but sometimes the pictorial gestures were a little too deliberate, as in ‘Liebesbotschaft’ (Love’s message) where the brook bubbled rather than murmured; and her use of rubato was at times overly conspicuous.
Unfailingly pleasing, this recital was meticulous in preparation and execution; perhaps too much so, in that Gilchrist never seemed to ‘inhabit’ the songs, rather to deliver them albeit with intelligence and skill; it all sounded rather too ‘nice’. But, that is scarcely a criticism — and perhaps a personal taste. For, while Gilchrist may not quite have the range of tones and shades to plummet the Romantic essence of these songs, he and Tilbrook demonstrated appreciable insight and care for the music.
Claire Seymour
Performers and programme:
James Gilchrist, tenor; Anna Tilbrook, piano. Wigmore Hall, London, Thursday 17th July 2014.
Franz Schubert: Schwanengesang D957; Ludwig van Beethoven: An die ferne Geliebte Op.98