It’s common for star singers rehearsing within the Metropolitan Opera to make time in your recital Regardless that they’re in Large apple. But the results normally will not be Ordinarily this exciting.
The mezzo-soprano Magdalena Kozena together with the conductor Simon Rattle, who're married, is likely to be appearing in two weeks in Strauss’s “Der Rosenkavalier” for the Reached: Ms. Kozena sings Octavian, and Mr. Rattle is In the pit. But on Tuesday, joined by 6 other musicians, with Mr. Rattle on piano, they offered a different, novel and demanding software at Alice Tully Corridor. (Earlier this calendar year, they generated a recording dependant upon the program, “Soirée,” over the Pentatone label.)
Ms. Kozena selected music which were like chamber features for voice and a variety of mixtures of instruments, commencing off with Chausson’s seldom read through, and ravishing, “Chanson Perpétuelle,” a 7-moment location of a Symbolist poem by Charles Cros for singer, string quartet and piano. The textual material is usually a younger woman’s fraught account of The individual who abandoned her, established to curiously melting lyrical traces, with periods of frayed depth.
Ms. Kozena sang with influencing heat and shimmering audio, supported by lush, agitated strings (the violinists Giovanni Guzzo and Rahel Maria Rilling, the violist Amihai Grosz and the cellist Dávid Adorján) and in addition a piano alive with tremolos.
A further perform, also inexplicably unusual, was Stravinsky’s “3 Tunes of William Shakespeare” (1953), on the listing of composer’s first ventures into twelve-tone audio, scored for voice, flute (Kaspar Zehnder), clarinet (Andrew Marriner) and viola. Ms. Kozena gave a beguiling features of this skittish and coolly amazing set, Particularly the slyly sweet “Musick to heare.”
The Shakespeare theme ongoing with Strauss’s “Drei Lieder der Ophelia,” the sole music on This technique into the common pairing of voice and piano. Strauss captures Ophelia’s instability in new new music that slips between sumptuous lyrical flights and bouts of fractured eeriness. Mr. Rattle shipped fragile and articulate accompaniment to Ms. Kozena’s eloquent singing.
She sounded sensual and earthy in Ravel’s intoxicating “Chansons Madécasses,” by which the piano, cello and flute places are like equal associates inside a dialogue Using the voice. And, Along with the Strauss tracks Even so clean up In the ear, it absolutely was exciting to listen nuty literowe na keyboard - nutyliterowe.pl to Brahms’s “Ophelia-Lieder,” people tune-like choices of many of the very same Shakespeare texts, executed right here inside an arrangement for voice and thick-textured string quartet by Aribert Reimann.
At 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 professional a touch of wailing klezmer On this unique feisty overall performance. Then she finished with 6 Dvorak tunes, billed configurations of folks texts that recount the travails and absurdities of rural everyday dwelling. Below, eventually, all eight performers joined jointly.
Getting 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 around the piano, While using the Other folks turning out to be a member of in While using the keep track of’s consoling conclusion.
Magdalena Kozena
Performed on Tuesday at Alice Tully Hall, Lincoln Heart.