Scarcely had Julius Drake seated himself, when the piano’s turbulent stream of relentless semiquavers precipitously announced the opening of Schubert’s ‘Der Strom’ (The river), the opening song in Ian Bostridge’s recital series, Schubert Lieder.
Wintery weather in London for Florian Boesch’s Schubert Winterreise at the Wigmore Hall. But what bliss to hear an austere interpretation that challenged assumptions !
Florian Boesch is singing Schubert’s Die Schˆne M¸llerin at the Oxford Lieder Festival on Sunday 14th October. This won’t be routine. Radically challenging conventional interpretation, Boesch says “I don’t believe it ends in suicide”
Although John Cage’s Seven Haiku for piano are all about chance and accident, this final concert in Ian Bostridge’s Ancient and Modern series was a masterpiece of meticulous planning and execution.
The performance at the Wigmore Hall of Schubert’s Die schˆne M¸llerin by Florian Boesch and Malcolm Martineau was outstanding. Over several decades, I’ve heard hundreds of performances, but this was exceptionally perceptive.
Each year, the Wigmore Hall commemorates Franz Schubert’s birthday with a high profile recital. This year, Werner G¸ra and Roger Vignoles presented a recital which was a timely reminder of what Lieder performance should be.
In just ten years, the Oxford Lieder Festival has become Britain’s most important Lieder festival, with an international following.
Christian Gerhaher and Gerold Huber presented Schubert’s song cycles at the Wigmore Hall, London.
While the music industry seems to be spiralling dementedly downmarket, the Wigmore Hall keeps standards extremely high.
After hearing his stunning Leporello at Glyndebourne and his Figaro at Salzburg, there was no way I was going to miss Luca Pisaroni’s concert with Wolfram Rieger at the Wigmore Hall, London. But I was delighted by how wonderful he sounded close up in recital.