It’s commonplace for star singers rehearsing While using the Metropolitan Opera which will help make time to obtain a recital when they’re in The large apple. But the end result are usually not Typically this enjoyable.
The mezzo-soprano Magdalena Kozena and Similarly the conductor Simon Rattle, who will be married, could be exhibiting up in two months in Strauss’s “Der Rosenkavalier” inside the Fulfilled: Ms. Kozena sings Octavian, and Mr. Rattle is when throughout the pit. But on Tuesday, joined by six other musicians, with Mr. Rattle on piano, they provided a numerous, novel and demanding application program at Alice Tully Corridor. (Right before this yr, they unveiled a recording based on This system, “Soirée,” about the Pentatone label.)
Ms. Kozena chosen tunes which are actually like chamber capabilities for voice and various mixtures of units, initiating off with Chausson’s almost never analyze, and ravishing, “Chanson Perpétuelle,” a 7-minute web-site Using the Symbolist poem by Charles Cros for singer, string quartet and piano. The textual information is really a youthful Lady’s fraught account of The individual who deserted her, set to curiously melting lyrical strains, with instances 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 coupled with the cellist Dávid Adorján) Besides a piano alive with tremolos.
The next entire, also inexplicably unheard of, was Stravinsky’s “Some Tunes of William Shakespeare” (1953), Among the list of composer’s quite first ventures into twelve-tone audio, scored for voice, flute (Kaspar Zehnder), clarinet (Andrew Marriner) and https://nutyliterowe.pl/klasyka/oda-do-radosci viola. Ms. Kozena gave a beguiling accomplishment With all the skittish and coolly good established, Principally the slyly sweet “Musick to heare.”
The Shakespeare matter ongoing with Strauss’s “Drei Lieder der Ophelia,” the sole real genuine music on This system for the popular pairing of voice and piano. Strauss captures Ophelia’s instability in tunes that slips between sumptuous lyrical flights and bouts of fractured eeriness. Mr. Rattle presented fragile and articulate accompaniment to Ms. Kozena’s eloquent singing.
She sounded sensual and earthy in Ravel’s intoxicating “Chansons Madécasses,” where the piano, cello and flute elements are like equivalent associates inside the dialogue Even though utilizing the voice. And, Along with the Strauss tunes however thoroughly clean new throughout the ear, it Completely was intriguing to hear Brahms’s “Ophelia-Lieder,” people tune-like configurations of A number of of a similar Shakespeare texts, carried out revealed in the following paragraphs inside of an arrangement for voice and thick-textured string quartet by Aribert Reimann.
For the summary of the recital, Ms. Kozena took us to her Czech homeland. She sang Janacek’s “Nursery Rhymes” for voice, piano and clarinet, which skilled a touch of wailing klezmer Applying such a feisty efficiency. Then she concluded with six Dvorak tracks, billed alternate options of people texts that recount the travails and absurdities of rural lifestyle. In this article, last Even though not the extremely minimum, all eight performers joined jointly.
Remaining an encore, Ms. Kozena gave a poignant account of Strauss’s “Morgen.” Mr. Guzzo accomplished the melancholy violin melody affectingly, when Mr. Rattle reverently rendered the orchestra previously mentioned the piano, Even though employing the Individuals signing up for in with your tunes’s consoling conclusion.
Magdalena Kozena
Done on Tuesday at Alice Tully Corridor, Lincoln Heart.