It’s common for star singers rehearsing when while while in the Metropolitan Opera for making time for the recital While they’re in The large apple. But the consequences are normally not regularly this consideration-grabbing.
The mezzo-soprano Magdalena Kozena Furthermore the conductor Simon Rattle, which can be married, will probable be exhibiting in two months in Strauss’s “Der Rosenkavalier” over the Achieved: Ms. Kozena sings Octavian, and Mr. Rattle is In the pit. But on Tuesday, joined by six other musicians, with Mr. Rattle on piano, they launched a varied, novel and demanding software at Alice Tully Corridor. (Beforehand this twelve months, they unveiled a recording dependant on This system, “Soirée,” close to the Pentatone label.)
Ms. Kozena picked tunes that were like chamber operates for voice and special combos of models, establishing with Chausson’s almost sto lat never go through by way of, and ravishing, “Chanson Perpétuelle,” a 7-2nd setting Utilizing the Symbolist poem by Charles Cros for singer, string quartet and piano. The textual information is surely a more youthful Lady’s fraught account of The individual who deserted her, established to curiously melting lyrical strains, with situations of frayed depth.
Ms. Kozena sang with influencing warmth and shimmering look like, supported by lush, agitated strings (the violinists Giovanni Guzzo and Rahel Maria Rilling, the violist Amihai Grosz along with the cellist Dávid Adorján) Additionally a piano alive with tremolos.
A different achieve, also inexplicably unheard of, was Stravinsky’s “a few Tracks of William Shakespeare” (1953), One of the a lot of composer’s to start off out with ventures into twelve-tone new tracks, scored for voice, flute (Kaspar Zehnder), clarinet (Andrew Marriner) and viola. Ms. Kozena gave a beguiling Popular effectiveness from the skittish and coolly fantastic established, Exactly the slyly sweet “Musick to heare.”
The Shakespeare subject matter continued with Strauss’s “Drei Lieder der Ophelia,” the a person authentic tunes on This technique With every one of the regular pairing of voice and piano. Strauss captures Ophelia’s instability in tracks that slips Among the sumptuous lyrical flights and bouts of fractured eeriness. Mr. Rattle sent sensitive and articulate accompaniment to Ms. Kozena’s eloquent singing.
She sounded sensual and earthy in Ravel’s intoxicating “Chansons Madécasses,” all over which the piano, cello and flute areas are like equal companions in just a dialogue Whilst utilizing the voice. And, However making use of the Strauss tracks keep on on to current day Inside the ear, it Thoroughly was intriguing to listen to Brahms’s “Ophelia-Lieder,” Adult men and girls right this moment audio-like configurations of A variety of of the exact same Shakespeare texts, performed correct suitable listed here in an arrangement for voice and thick-textured string quartet by Aribert Reimann.
Across 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 Speak to of wailing klezmer On this feisty efficiency. Then she finished with six Dvorak audio, billed configurations of Males and ladies texts that recount the travails and absurdities of rural each day residing. Beneath, preceding Despite the fact that not least, all eight performers joined collectively.
Presently currently being an encore, Ms. Kozena gave a poignant account of Strauss’s “Morgen.” Mr. Guzzo executed the melancholy violin melody affectingly, When Mr. Rattle reverently rendered the orchestra close to the piano, With many of the Other men and women signing up for in in just your tune’s consoling summary.
Magdalena Kozena
Executed on Tuesday at Alice Tully Corridor, Lincoln Centre.