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.
The Sixteen continues its exploration of Henry Purcell’s Welcome Songs for Charles II. As with Robert King’s pioneering Purcell series begun over thirty years ago for Hyperion, Harry Christophers is recording two Welcome Songs per disc.
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.
In February this year, Albanian soprano Ermonela Jaho made a highly lauded debut recital at Wigmore Hall - a concert which both celebrated Opera Rara’s 50th anniversary and honoured the career of the Italian soprano Rosina Storchio (1872-1945), the star of verismo who created the title roles in Leoncavallo’s La bohème and Zazà, Mascagni’s Lodoletta and Puccini’s Madama Butterfly.
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.
Collapsology. Or, perhaps we should use the French word ‘Collapsologie’ because this is a transdisciplinary idea pretty much advocated by a series of French theorists - and apparently, mostly French theorists. It in essence focuses on the imminent collapse of modern society and all its layers - a series of escalating crises on a global scale: environmental, economic, geopolitical, governmental; the list is extensive.
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.’
Amongst an avalanche of new Mahler recordings appearing at the moment (Das Lied von der Erde seems to be the most favoured, with three) this 1991 Mahler Second from the 2nd Kassel MahlerFest is one of the more interesting releases.
‘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.’
If there is one myth, it seems believed by some people today, that probably needs shattering it is that post-war recordings or performances of Wagner operas were always of exceptional quality. This 1949 Hamburg Tristan und Isolde is one of those recordings - though quite who is to blame for its many problems takes quite some unearthing.
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."
In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.
The philosophical profundity and the floridity of the linguistic conceits may offer partial explanation; or perhaps it is simply that there was a dearth of compositional talent. Whatever the cause, Gilchrist is seeking to redress the imbalance by commissioning three new settings of English Romantic poetry - from Sally Beamish, Julian Philips and Jonathan Dove - each of which is to be paired with a song-cycle by Schumann: the two Liederkreis cycles Opp. 39 and 24 and Dichterliebe.
Sally Beamish’s West Wind, premiered by Gilchrist during this Wigmore Hall recital with accompanist Anna Tilbrook, is a companion piece to Schumann’s Op.39 Liederkreis cycle. It sets texts by Joseph Eichendorff which Gilchrist describes as quite Gothic: ‘The poetry is full of misty, veiled night-time scenes where one is not quite sure what is going on - there are knights and maidens and strange happenings down in the valley.’
Certainly the deep rumbles of the piano bass in the opening bars of Beamish’s work, which ripple upwards like a fantasia of wind, and whisper and blast through the composition, are a dark portent of the tempest which is both ‘destroyer and preserver’. As Tilbrook conjured this ‘Wild Spirit’, Gilchrist was heard off-stage and his slow entry - as if in sympathy with the dead leaves, ‘pestilence stricken multitudes’ - increased the air of foreboding. The tenor’s line retreated, ‘cold and low’ like the ‘wingèd seeds’ which lie like ‘corpse[s] within [the] grave’, while Tilbrook’s eerie rustles intimated the Spring breeze to follow. The vocal line, combining declamation and lyricism, and featuring frequent fourth intervals, recalled Britten in its dramatic tautness and the precision of its response to Shelley’s text.
Gilchrist’s subsequent slow, low lament to the ‘dirge of the dying year’ was dragged down further by the piano’s repetitive bass pedal but the image of the ‘vast sepulchre’ from which would burst forth ‘vapours, from whose solid atmosphere/ Black rain, and fire, and hail’ initiated fresh impetus. Here, and throughout, Beamish skilfully conveyed Romantic dualities - destruction and creation, faith and doubt - and in the indecisive final phrase, ‘O hear!’, as in the opening part of the work, faded fragilely into inconclusiveness.
Tilbrook’s delicate pianissimo wonderfully evoked the dreamy exoticism of the third section of Shelley’s poem. The accompaniment’s sparse textures and ‘barely-there’ gestures, anchored by a steady quaver pulsing, were a perfect support for the tenor’s incantatory lyricism. His diction superbly crisp, Gilchrist made much of the imagery, ‘sea-blooms and oozy woods’, which Beamish treats with madrigalian mimicry at times: ‘Thy voice’ was a cry of fear, the piano’s rushing cluster the ‘tremble’ of the natural world. At this central point ‘Oh hear’ disappeared, merging with Romantic nothingness as embodied by the piano’s enigmatic commentary.
In the following section, the poet-speaker’s identification with the wind was suggested by imitation between the piano and voice, and Gilchrist again revealed Beamish’s attentiveness to the poetic text, emphasising details such as the long-held darkness of ‘dead leaf’, and the flourish of ‘mightiest’, while the image of a ‘wave to pant beneath thy power’ released a tumult of energy that matched the momentum of Shelley’s enjambment. The growing positivity and peace felt by the speaker was conveyed by a focused but relaxed mezzo forte as Gilchrist imagined himself as ‘The comrade of thy wanderings over heaven’.
The final section injected renewed determination and urgency: ‘Make me thy lyre’ commanded the tenor, accompanied by astringent harmonies and parallel chords. The address to the ‘Spirit fierce, my spirit’ brought a response in the form of a varied reprise of the piano’s opening squall. True to Shelley’s appeal, ‘Be through my lips to unawaken’d earth/ The trumpet of a prophecy’ (here a beautiful, unaccompanied declamation), the voice’s apostrophe, ‘O Wind’, summoned the sounds of the airy lyre, then plummeted for the poet-speaker’s reverential hope, ‘If Winter comes, can Spring be far behind?’ In the closing bars, Gilchrist quietly left the platform.
Beamish’s text-setting recalls Britten and Purcell in its alertness to the rhythmic potential of the words and the clarity of the sometimes angular melodic line. Gilchrist proved himself the perfect proponent of the work, communicating with a naturalness and directness which complemented the easy, conversational flow of Shelley’s iambic pentameter. I hope that we have the chance to her West Wind again soon, but we will have to wait for subsequent Wigmore Hall seasons to hear how Philips brings Schumann’s Heine settings (Liederkreis Op.24) into company with the poetry of John Clare, and whether Gilchrist persuades Dove that either The Rime of the Ancient Mariner or Byron’s Manfred is the perfect partner for Dichterliebe.
West Wind was preceded by five songs by Mendelssohn, a composer often criticised for failing to probe the Romantic subjectivity of his chosen poetic texts in the manner of Schumann or Schubert. Gilchrist began with ‘Auf Flügeln des Gesanges’ (On wings of song), a prime candidate perhaps for accusations of saccharine superficiality. Gilchrist’s tenor was warm and sweet, Tilbrook pedalled judiciously, and the duo used the minor-key inflections expressively, but they could not quite overcome the ‘Victorian parlour’ ambience. In a letter of 1842 to a former student, Marc André Souchay, Mendelssohn rebutted criticism that his Lieder Ohne Worte were songs ‘missing’ the poetry, declaring that ‘So much is spoken about music and so little is said. For my part I do not believe that words suffice for such a task … They [too] seem so ambiguous, so vague, so subject to misunderstanding when compared with true music … because the same word never means the same thing to different people’. Gilchrist, though, made much of the text, and the songs had directness and animation. ‘Keine von der Erde Schönen’ (There be none of Beauty’s daughters) was particularly compelling with the tenor making a sustained effort to convey the poetic spirit of Byron’s verse in which the poet-speaker reflects on the magic of his beloved’s beauty.
Tilbrook was an evocative accompanist, the piano’s syncopated throbbing embodying the distant tolling bells in ‘Nachtlied’ (Night song), and the fairy horses and elves of ‘Neue Liebe’ (New love) conjured by the accompaniment’s sprightly staccatos and measured-trill figures. In the latter, Gilchrist accurately negotiated the demanding contours of the swooping, leaping vocal line and the nuanced pacing of the final stanza in which the poet-speaker cautiously wonders if the elfin queen’s smile heralds a new love, or death, was skilfully controlled.
The Liszt songs which followed the interval were similarly attentive to detail and engagingly performed, but I found Gilchrist’s tenor a little too light and pure - even, dare one suggest, today of all days, rather ‘English’ - to capture the expressive agitation of some of these songs. That said, ‘Im Rhein, im schönen Strome’ (In the Rhine, the beautiful river) was gentle and dreamy and in ‘Du bist wie eine Blume’ (You are like a flower) the tenor’s mezza voce floated blissfully. Gilchrist had the power, even low in the voice, to match the heroic gestures of the accompaniment to ‘Es war ein König in Thule’ (There was a King in Thule). Best of the pick was ‘Loreley’ which was notable for the duo’s masterly control of the song’s musical and dramatic form, and its rhetorical impact.
Schumann’s Liederkreis Op.39 closed the recital. Gilchrist’s performance of the cycle was characterised by even vocal production, sustained intensity and expressive commitment that did not veer into melodrama. These qualities were compellingly present in ‘Waldesgespräch’ in which Gilchrist enacted the meeting between a knight - confident and focused of tone - and a mysterious beautiful woman - a restrained half-voice - as Tilbrook’s ‘hunting horns’ and rustling leaves evoked the nocturnal forest scene. The piano postlude created an unnerving sense of mystery, as the human figure was engulfed by the forest’s embrace, never more to be seen. Gilchrist can make his tenor seem quite ethereal at times and in ‘Mondnacht’ (Moonlit night) there was a lovely spaciousness as the beloved appeared to the poet-speaker, ‘as though Heaven had softly kissed the Earth’. ‘Wehmut’ (Sadness), too, was sensitively shaped. In contrast, ‘Frühlingsnacht’ (Spring night) ended the recital in a spirit of joyful refulgence.
Claire Seymour
This concert was broadcast live on BBC Radio 3 and is available via the BBC website ( Broadcast ) until 21 July.
James Gilchrist, tenor; Anna Tilbrook, piano.
Mendelssohn: ‘Auf Flügeln des Gesanges’ Op.34 No.2, ‘Schlafloser Augen Leuchte’ WoO.4 No.2, ‘Keine von der Erde Schönen’ WoO.4 No.1, ‘Nachtlied’ Op.71 No.6, ‘Neue Liebe’ Op.19a No.4; Sally Beamish: West Wind (world première); Liszt: ‘Im Rhein, im schönen Strome’ S272/2, ‘Du bist wie eine Blume’ S287, ‘Die Loreley’ S273/2, ‘Ein Fichtenbaum steht einsam’ S309, ‘Es war ein König in Thule’ S278/2; Schumann: Liederkreis Op.39.
Wigmore Hall, London; Wednesday 22nd June 2016.