It’s common for star singers rehearsing While using the Metropolitan Opera for making time for any recital however they’re in The large apple. But the effects are surely not constantly this interesting.
The mezzo-soprano Magdalena Kozena as well as conductor Simon Rattle, who're married, could be exhibiting in two weeks in Strauss’s “Der Rosenkavalier” with the Fulfilled: Ms. Kozena sings Octavian, and Mr. Rattle is while in the pit. But on Tuesday, joined by six other musicians, with Mr. Rattle on piano, they introduced a assorted, novel and demanding method at Alice Tully Hall. (Previously this calendar calendar year, they launched a recording depending on This method, “Soirée,” around the Pentatone label.)
Ms. Kozena chosen tunes which were like chamber will get the job done for voice and unique combos of devices, beginning with Chausson’s seldom browse, and ravishing, “Chanson Perpétuelle,” a seven-minute setting in the Symbolist poem by Charles Cros for singer, string quartet and piano. The textual articles could be a youthful Woman’s fraught account of The person who deserted her, founded to curiously melting lyrical strains, with moments 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 along with the cellist Dávid Adorján) As well as a piano alive with tremolos.
One more get The task finished, also inexplicably scarce, was Stravinsky’s “three Songs of William Shakespeare” (1953), among numerous composer’s originally ventures into twelve-tone tunes, scored for voice, flute (Kaspar Zehnder), clarinet (Andrew Marriner) and viola. Ms. Kozena gave a beguiling overall performance of the skittish and coolly excellent established, Specially the slyly sweet “Musick to heare.”
The Shakespeare theme ongoing with Strauss’s “Drei Lieder der Ophelia,” the a single music on This method for that typical pairing of voice and piano. Strauss captures Ophelia’s instability in tunes that slips about sumptuous lyrical flights and bouts of fractured eeriness. Mr. Rattle made available 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 sections are like equivalent associates within a dialogue Although using the voice. And, Utilizing the Strauss music even now refreshing although inside the ear, it was appealing to listen to Brahms’s “Ophelia-Lieder,” people songs-like configurations of numerous of the identical Shakespeare texts, carried out on this page within an arrangement for voice and thick-textured string quartet by Aribert Reimann.
With 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 experienced a hint of wailing klezmer On this feisty success. Then she finished with 6 Dvorak tunes, charged solutions of individuals texts that recount the travails and absurdities of rural daily life. Under, at last, all 8 performers joined collectively.
Becoming an encore, Ms. Kozena gave a poignant https://nutyliterowe.pl account of Strauss’s “Morgen.” Mr. Guzzo performed the melancholy violin melody affectingly, Even though Mr. Rattle reverently rendered the orchestra inside the piano, Along with the Other people turning into a member of in for the tunes’s consoling summary.
Magdalena Kozena
Done on Tuesday at Alice Tully Corridor, Lincoln Centre.