It’s not unusual for star singers rehearsing within the Metropolitan Opera to help make time for a recital though they’re in Big apple. But the https://nutyliterowe.pl/ outcome aren't normally this appealing.
The mezzo-soprano Magdalena Kozena along with the conductor Simon Rattle, that are married, will likely be appearing in two weeks in Strauss’s “Der Rosenkavalier” at the Achieved: Ms. Kozena sings Octavian, and Mr. Rattle is within the pit. But on Tuesday, joined by six other musicians, with Mr. Rattle on piano, they presented a different, novel and demanding system at Alice Tully Corridor. (Previously this year, they produced a recording determined by This system, “Soirée,” within the Pentatone label.)
Ms. Kozena chose songs that were like chamber operates for voice and many combos of instruments, starting up with Chausson’s seldom read, and ravishing, “Chanson Perpétuelle,” a 7-moment location of the Symbolist poem by Charles Cros for singer, string quartet and piano. The text can be a youthful woman’s fraught account of The person who abandoned her, set to curiously melting lyrical strains, with moments of frayed depth.
Ms. Kozena sang with impacting warmth and shimmering audio, supported by lush, agitated strings (the violinists Giovanni Guzzo and Rahel Maria Rilling, the violist Amihai Grosz and also the cellist Dávid Adorján) along with a piano alive with tremolos.
The next do the job, also inexplicably unusual, was Stravinsky’s “A few Music of William Shakespeare” (1953), one of several composer’s 1st ventures into 12-tone music, scored for voice, flute (Kaspar Zehnder), clarinet (Andrew Marriner) and viola. Ms. Kozena gave a beguiling efficiency of this skittish and coolly good set, Specifically the slyly sweet “Musick to heare.”
The Shakespeare theme ongoing with Strauss’s “Drei Lieder der Ophelia,” the sole tracks on This system to the conventional pairing of voice and piano. Strauss captures Ophelia’s instability in music that slips concerning sumptuous lyrical flights and bouts of fractured eeriness. Mr. Rattle provided sensitive and articulate accompaniment to Ms. Kozena’s eloquent singing.
She sounded sensual and earthy in Ravel’s intoxicating “Chansons Madécasses,” wherein the piano, cello and flute elements are like equal partners inside of a dialogue Together with the voice. And, with the Strauss songs nonetheless new during the ear, it was fascinating to listen to Brahms’s “Ophelia-Lieder,” people track-like options of various of precisely the same Shakespeare texts, performed right here in an arrangement for voice and thick-textured string quartet by Aribert Reimann.
At the end of the recital, Ms. Kozena took us to her Czech homeland. She sang Janacek’s “Nursery Rhymes” for voice, piano and clarinet, which experienced a hint of wailing klezmer Within this feisty effectiveness. Then she ended with 6 Dvorak tunes, billed settings of people texts that recount the travails and absurdities of rural lifestyle. Here, finally, all 8 performers joined together.
As an encore, Ms. Kozena gave a poignant account of Strauss’s “Morgen.” Mr. Guzzo performed the melancholy violin melody affectingly, whilst Mr. Rattle reverently rendered the orchestra to the piano, with the Other people becoming a member of in for that song’s consoling summary.
Magdalena Kozena
Performed on Tuesday at Alice Tully Corridor, Lincoln Heart.