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Christian Gerhaher as natural resource (Wigmore Hall, 28 November 2018)
It’s not for nothing that my last post regarding Christian Gerhaher involved a white horse: he’s on the mild side of the typical baritone. Last night I kinda felt a few moments of darker teething but they stood out exactly because they are so unusual for him. As do his bottom notes, which seem like a different language than he normally speaks. Whenever he ventured there (not often), it hit me: oh, he’s a baritone! Not that he normally sounds like a tenor; he normally sounds like Gerhaher. He has all the warmth of the baritone but none of the nastiness habitually associated with the term.
It seems that everybody likes this White Chocolate of baritones, because the house was packed like a charismatic church on faith healing day. Bring me your old, bring me your young, bring me your sick and bring me your healthy! Just keep the poor home 😉 Kidding.
In front of me sat the unlikely pairing of a younger but portlier James Levine-lookalike who only needed half a phrase to brag how he’d already seem Gerhaher 100 times1 and a sedentary grasshopper, with the pernickety air of a retired mechanical engineering teacher, currently masquerading as a skyscraper (seriously, he was the tallest person I’d ever seen in my life), next to me the Islington version of Stephen King kept his nose in the programme because words are important, ffs! and behind me two people in wheelchairs were in the midst of a conversation about Ermonela Jaho’s skills as Violetta.
I’d never met a Jaho fan2 before, so I had to turn around and see who was standing up for her to this extent. That was when a fashionably bearded Bismarck walked past, along with a lady sporting that droopy cheek and eyelid thing so specific to certain English physionomies – but only after I spotted her exchanging double cheek kisses with some gent. Clearly the lady voted Remain. We also had the bald patch + straw hair mullet “conductor from the provinces”, a male movie star from the 1940s (he looked exactly like that, with his slicked back parted hair, hard done by eyes and suit) and minorities from 2018. Basically the entire country, for the past 150 years.
Christian Gerhaher baritone
Gerold Huber piano
Franz Schubert (1797-1828)
Sei mir gegrüsst D741
Dass sie hier gewesen D775
Lachen und Weinen D777
Du bist die Ruh D776
Greisengesang D778
Wolfgang Rihm (b.1952)
Tasso-Gedanken (UK première)
Franz Schubert
Abendbilder D650
Himmelsfunken D651
Interval
Hugo Wolf (1860-1903)
Goethe Lieder
Harfenspieler I
Harfenspieler II
Harfenspieler III
Alban Berg (1885-1935)
Vier Lieder Op. 2
Hugo Wolf
Mörike Lieder
Begegnung
Lied eines Verliebten
Auf ein altes Bild
Auf eine Christblume II
Schlafendes Jesuskind
Goethe Lieder
Grenzen der Menschheit
Lady: how did you like the Rihm?
Gent: I didn’t dislike it.
Lady: I didn’t like it but I didn’t hate it.
Maybe you know this piece, I didn’t, since it was a UK premiere and, duh, contemporary. What do I know, right? Well, I know now that it sounds like you imagine it. The above descriptions are very apt, even though they lack in imagination.
What it brought to my (very imaginative) mind was the bell curve of adrenaline rush. When a person is pissed off and adrenaline kicks in, it takes exactly 90 min3 until the person calms down. During that period, the person will do something regrettable at least once, but possibly more than once, in quick succession, depending on 1) how annoying/lacking in diplomacy the people around are, 2) whether they have wisely vacated the premises and taken cover, 3) whether there is suitable property just waiting to be destroyed. In the end, arousal will drop below the person’s garden variety level, due to exhaustion. This is when you rush in and acuphase the composer 😉
Why nobody hated it is because it was sung by White Chocolate on white horse Gerhaher. I didn’t hate it either, although I quite possibly dozed off for a minute or two of those 900, only being sprung back to contemporary reality during the spikes of regrettability, known as tuneful shrieks. Artists always embelish reality, so the structure of the composition didn’t mimic science to a t.
Other than that it was a delightful performance. The Jaho fan commented that Gerhaher started very softly but 1) everyone does, because duh, 2) I like it, 3) Gerhaher’s chief attraction to me is how he can make himself heard anywhere (that I’ve seen him, which is exactly two places) very clearly both in volume and diction-wise, without having to max the ping, which he doesn’t have, anyway. He doesn’t need it, his tone is civilised and sensitive, the addition of ping would be akin to opening a fast food joint on the first floor of an ecohouse.
The other chief attractions are 1) how well he collaborates with the accompanist – I love singers who don’t sing in the vacuum of their glorious talent and intelligence <3, 2) no phrase ever sounds dull.
You know how some singers will focus on this or that part of a song/aria and make that it all nice and polished, because they’ve decided that’s the bit that matters – but leave other words/parts to hang limp and sound uninteresting, like they’re just there (bad librettist/poet!). Well, he doesn’t. There are other singers who manage that (hint: the ones that I like), of course, but he’s one them. The whole is really a whole, not just a clever pun with leftover dressing.
Now I need to see if I can get returns4 for his Winterreise.
- I was compelled to run mental calculations on how many times a year he had to have dutifully trotted to Gerhaher recitals or Tannhauser. ↩
- It was him that was in the midst of the conversation, the lady was rather to the side of it, gauging his enthusiasm against her willingness to see yet another Traviata, (probably the 500th, relative to her age vs portly Levine’s). ↩
- Not 89, not 91 – exactly 90. Kidding 😉 but that’s the ballpark. ↩
- I got this ticket as a return, too :-) ↩
Marie-Nicole Lemieux looks for that mythical place (Wigmore Hall, 2 November 2018)
My first encounter with Lemieux was via my favourite Vivaldi aria:
Having to pass the test of a favourite is the tallest order for a anyone but she did it brilliantly. Since then I’ve kept an eye out for her stops in London. I eventually saw her as the Sphynx in Enescu’s Oedipe, testimony to her wide-ranging repertoire.
She didn’t sing this last night, but that aria is a surprisingly good example of her temper. She actually is like that in a recital.
MNL to late comers: (signals to Vignoles) let’s stop for a moment and greet the new arrivals. Please, take your seats.
MNL to people who haven’t turned their phones off: you have two seconds to turn it off.
MNL to people who rush out before the encores: bye-bye, see you soon!
Hahaha! What a heroine! Others (who had come on time, stayed until the end and had turned off their mobiles) enjoyed the attitude so much, the applause started to materialise at random times, which resulted in MNL requesting for people to applaud at appropriate times. Haha! That being said, she gave us a very sweet and emotional thank you in the end, so she clearly did appreciate people who were into the performance.
ps: I really enjoyed her choice of jewellery – black squares for the German rep, and silver “chainmail” for the French.
Marie-Nicole Lemieux contralto
Roger Vignoles piano
Robert Schumann (1810-1856)
Kennst du das Land? Op. 98a No. 1
Lied der Suleika Myrthen Op. 25
Franz Schubert (1797-1828)
Der Musensohn D764
Ganymed D544
Gretchen am Spinnrade D118
Ludwig van Beethoven (1770-1827)
Wonne der Wehmut Op. 83 No. 1
Die Trommel gerühret Op. 84 No. 1
Fanny Mendelssohn (1805-1847)
Harfners Lied
Über allen gipfeln ist Ruh
Hugo Wolf (1860-1903)
Goethe Lieder
Blumengruss
Frühling übers Jahr
Kennst du das Land
Interval
Ernest Chausson (1855-1899)
L’albatros
Gabriel Fauré (1845-1924)
Chant d’automne Op. 5 No. 1
Déodat de Séverac (1872-1921)
Les hiboux
Gabriel Fauré
Hymne Op. 7 No. 2
Gustave Charpentier (1860-1956)
La mort des amants
Claude Debussy (1862-1918)
Le jet d’eau
Recueillement
Henri Duparc (1848-1933)
L’invitation au voyage
La vie antérieure
Encore:
more Goethe one of which was Connais-tu le pays?
So much vitality! And a surprising amount of cheerful songs; most singers have a tendency to take themselves very seriously in these recitals – which might just be their personality and we probably love them exactly for that – but it doesn’t have to be that way. You can be funny and silly and show off your technique and understanding of the text at the same time.
I really liked the German songs, rather surprisingly, since usually if there is a selection of French and German and the singer is French, I’ll go for the French chanson – but somehow I felt the German stuff fit her better. How unusual! I don’t know if I’m right, because there was of course nothing wrong with the French stuff. Perhaps the juxtaposition oomphed the German material, which had more Lebenslust, dare I say, whereas the French songs were more languid (Le jet d’eau, for instance; though Les hiboux was very cool and so was Chant d’automne1). But, considering she returned to Goethe for the encores, it’s clear she enjoys the German rep a lot.
I was further surprised how much time she spent in the top region of her voice. She went from very conversational, typical “lieder singing”, to booming for effect (better turn that phone, off, buddy 😉 ) and from the top to very secure (but not super low) bottom on enough occasions but on the whole was more mezzo than contralto, not that’s a bad thing. There is a reason my mezzos-and-contraltos section is labeled thus. I also enjoyed her and Vignoles’ communcation with each other, which added to the charged allure of the evening.
Between Galoumisù two weeks ago and Lemieux last night, the French connection has been happily reestablished.
- I don’t know if this is about “pitting” Goethe and Baudelaire, because in literature I did enjoy Baudelaire a lot sooner than Goethe. To be fair, I have been behind in re-reading the classics in recent times… I won’t say “I didn’t have time” because that is a shitty/laughable excuse; I simply did not return to the readings of teenage years. ↩
French disconnection
As you can probably see from the lack of activity, this October has been a bit inconsistent. When I saw someone’s been checking out that fun Karin Gauvin post from a while back, I got rather irritated because I was supposed to see her again today. I did not get there, due to freak Victoria line issues (and since it was a lunchtime concert, if you don’t get there on time it’s really not worth the hassle of running there and then running back to work and having to explain your rather conspicuous lateness). This is bad enough but exactly two weeks ago I was supposed to see Sandrine Piau. I did not get there, due to a cold that was at its worst on that specific day. So much for seeing one or more French singers a month (you might remember that was a staple for a while there).
Live from Wigmore Hall: Dame Janet Baker in conversation
Check it out tomorrow, 30 September, on Wiggy’s livestream. It’s at 3pm London time, so it might be a bit weird, but I believe it will also be rather interesting, especially for mezzo fans 🙂 I’ll be around, from the comfort of my lounge, and will give a bit of a running commentary in this very post, if everything goes the way it should 😉
So, here I am. Janet Baker and Simon Callow talk about her seeing Lotte Lehman at Wiggy in the late ’50s, who came in her hat and gloves, which stopped Baker in her tracks. Apparently Lehman was very intimidating, including to the young Baker, who found her teaching style lacking in spontaneity, having to do everything exactly the same way Lehman wanted. Baker felt greatly inhibited by this. She wondered about the generation gap being similar today.
Callow: who did she admire at that time in her time? Sena Jurinak.
Acting: connecting with the thoughts of the character = both agree. As the narrator in the church nativity play, she felt very serious about it and also “in charge” of the play, and being confident she was “right” in what she was doing, unlike the others in the play 😉
Words and music: as important as each other.
Friends play teddybear picnic on the piano = reprehensible 😉
(Certain) rubbish church songs vs Bach = no contest 😉
G&S = also terrible, haha. Reacted strongly to “quality as she saw it” since a young age. She’s since changed her mind about G&S. All great but she’s never wished to sing it herself 😉
Voice: teachers apparently could tell she had a good voice by age 11, as per a school friend, she’s quite surprised how anyone could tell so early on.
Callow: says she realised early on that she had a responsibility towards her talent (to nurture it); a sense of destiny = she agrees. Baker: surely you felt the same way? Callow: nope. he loved theatre but her no experience with training. Wrote to Laurence Olivier about the wonderful theatre he was running and LO wrote back, inviting him to work at the box office 😉 not too bad! Would this ever happen today? Very unlikely. CV >>> enthusiasm for any medium.
She thinks she was very “gullible” when she was told not to sing for two years. Callow thinks she was way disciplined for a young person. This was when her voice was changing from high soprano to mezzo.
Both acknowledge luck, as they met people without “shopping around” for teachers etc. and the choices one makes (having a children and family etc.).
Talks about her Austrian teacher (see also: the conversation with JDD). She really enjoyed lieder, which was what her teacher specialised it. She says she enjoyed singing in German, German language in general and the love of words developed further. She was also singing in the Glyndebourne Chorus at the same time = she says it was luck that all came at the same time.
Acting
Callow: how was she so naturally in character? Baker: mind/heart/body coming together = acting. Callow: not all actors have that either – after 3 years in drama school, he was able to say convincingly “My lord, the carriage awaits!” 😉 Baker: John Copley and Peter Hall taught her to act as far as “the mechanics” go. Callow: says she can transform with a minimal amount of makeup (specifically in Les Troyens). No generalised rush of emotion. Baker: Peter Hall said she was dangerous because she took risks (don’t we love that 😀 ). She says she doesn’t teach beginners because she wants to dig deeper when acting, because at that point you need to expose yourself, which she acknowledges is a lot to ask, but it’s necessary (as a good actor) and it never bothered her. She thinks it’s because of how she cares so much about the power of words so she just goes with whatever is required by said words. Callow: he was surprised how the very big emotions fit the limits of her voice. Baker: trusted her solid technique, practiced every day, before whatever she sang, though it was tiresome, so she didn’t have to worry about it later. Lucky she had teachers who suited her. Because of this she was able to focus on her acting on stage. She worked for 30+ years busy all the time.
On retirement: relief! Not having to wake up and sing. She says younger singers coming up and having their turn = natural. Likens her singing to raising children – at one point you have to let it go.
Baker: as actors, do you learn discipline to see you through? Callow: yes, physical and vocal (dancing, singing = to warm up). The attitude towards voice in theatre changed in recent years. Voice = no longer considered for its expressive qualities. Actors are increasingly wearing microphones. Body becomes slacker and less expressive – physical excitement lessens. Diction, rhythm = not so important today. With actors it’s not just the voice = talent, it’s a bundle of things (personality, physical package). Doing 8 shows a week = needs good character (mental stamina) to do it 8 shows a week for 3, 6, 12 months at a time or 40 takes on a movie set. The challenge = to keep the reality of it. Acting = “images of destiny”. Baker’s Full Circle book = Callow praises it.
Opera productions: respect the composer and libretist. Costumes also important = supports your imagination of who the character is. Critices “busy-ness” on stage (I agree!). Callow: opera is ahead of theatre in experiementalism. Seems ambivalent about many different angles but no Wagner with urinals. Midsummer Night’s Dream in a box = ok, thinks it worked.
Farewell: Orfeo handing the lyre back. Chorus gave it back to her 😉
Die schöne Müllerin with Pavol Breslik (Wigmore Hall, 22 July 2018)
Franz Schubert (1797 – 1828)
Die schöne Müllerin D795
Pavol Breslik tenor
Amir Katz piano
Last week was very hot and busy and I actually did not check to see what Breslik was singing before arriving at Wiggy. My carefully laid out plans had me bailing out at intermission not because I anticipated not enjoying myself but because I had work which I wasn’t able to swap.
Both I and my seatmate, strategically placed at the end of the row, started to consider the likelihood of upgrading, seeing as how it was sparsely attended – as many shows are, at this time of Summer. So we got to talking and he mentioned the lack of intermission. In the end I stayed for the duration, only skipping the encores (the first of which was Erlkonig, as I overheard from the lobby).
I find it curious that this was Breslik’s Wiggy debut, as he’s been around for quite some time. My first encounter with him was the Munich Lucrezia Borgia but the piece in which I actually appreciated his efforts was Haim’s recording of Il triumfo del tempo a di disinganno, where he was Tempo in that great lineup.
Anyway, the miller-maid was all right in his interpretation, though not beyond1. His voice has darkened and thickened since Tempo though it’s still got a certain allure. It was a bit monocolour but he pushed the ff pedal with the best of them, at times the sound even got distorted.