It’s typical for star singers rehearsing with the Metropolitan Opera that can help make time for your recital Though they’re in New York. But the results normally are usually not Commonly this intriguing.
The mezzo-soprano Magdalena Kozena in addition to conductor Simon Rattle, who will be married, are going to be displaying up in two months in Strauss’s “Der Rosenkavalier” within the Fulfilled: 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 released a a variety of, novel and demanding software program at Alice Tully Corridor. (Previously this calendar 12 months, they unveiled a recording according to This system, “Soirée,” over the Pentatone label.)
Ms. Kozena picked tracks which were being like chamber works for voice and different mixtures of devices, starting with Chausson’s rarely read, and ravishing, “Chanson Perpétuelle,” a seven-minute setting on the Symbolist poem by Charles Cros for singer, string quartet and piano. The textual content material is often a more youthful woman’s fraught account of The individual who deserted her, established to curiously melting lyrical traces, with periods 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 cellist Dávid Adorján) In combination with a piano alive with tremolos.
An additional do The task, also inexplicably scarce, was Stravinsky’s “3 Audio of William Shakespeare” (1953), Amongst the listing of composer’s extremely first ventures into 12-tone audio, scored for voice, flute (Kaspar Zehnder), clarinet (Andrew Marriner) and viola. Ms. Kozena gave a beguiling usefulness from the skittish and coolly exceptional established, Specifically the slyly sweet “Musick to heare.”
The Shakespeare notion continued with Strauss’s “Drei Lieder der Ophelia,” the only real music on This system with the regular pairing of voice and piano. Strauss captures Ophelia’s instability in music that slips between sumptuous lyrical flights and bouts of fractured eeriness. Mr. Rattle shipped sensitive and articulate accompaniment to Ms. Kozena’s eloquent singing.
She sounded sensual and earthy in Ravel’s intoxicating “Chansons Madécasses,” in which the piano, cello and flute parts are like equal companions inside a dialogue Along with the voice. And, Together with the Strauss audio Nonetheless refreshing within the ear, it had been intriguing to pay attention to Brahms’s “Ophelia-Lieder,” individuals tune-like configurations of numerous of the identical Shakespeare texts, carried out in this article in an arrangement for voice and thick-textured string quartet by Aribert Reimann.
In the conclusion of the recital, Ms. Kozena took us to her Czech homeland. She sang Janacek’s “Nursery Rhymes” for voice, piano and clarinet, which had a hint of wailing klezmer In this particular specific feisty performance. Then she finished with 6 Dvorak songs, billed settings of people today texts that recount the travails and absurdities nuty literowe na keybord - nutyliterowe.pl of rural life. Listed here, ultimately, all eight performers joined along with each other.
Currently being an encore, Ms. Kozena gave a poignant account of Strauss’s “Morgen.” Mr. Guzzo performed the melancholy violin melody affectingly, when Mr. Rattle reverently rendered the orchestra to the piano, When utilizing the Other persons getting a member of in to the audio’s consoling summary.
Magdalena Kozena
Accomplished on Tuesday at Alice Tully Corridor, Lincoln Center.