It’s commonplace for star singers rehearsing throughout the Metropolitan Opera to make time for only a recital when they’re in Ny. But the ultimate consequences will not be generally this intriguing.
The mezzo-soprano Magdalena Kozena coupled with the conductor Simon Rattle, which might be married, will likely be displaying in two months in Strauss’s “Der Rosenkavalier” when during the Accomplished: Ms. Kozena sings Octavian, and Mr. Rattle is throughout the pit. But on Tuesday, joined by six other musicians, with Mr. Rattle on piano, they equipped a assorted, novel and demanding method at Alice Tully Corridor. (Forward of this twelve months, they introduced a recording primarily based on the program, “Soirée,” in excessive of the Pentatone label.)
Ms. Kozena picked tunes which ended up like chamber performs for voice and several mixtures of devices, setting up with Chausson’s hardly research, and ravishing, “Chanson Perpétuelle,” a 7-moment setting from the Symbolist poem by Charles Cros for singer, string quartet and piano. The textual content is commonly a youthful Woman’s fraught account of The individual who deserted her, recognized to curiously melting lyrical strains, with moments of frayed depth.
Ms. Kozena sang with influencing heat and shimmering look, supported by lush, agitated strings (the violinists Giovanni Guzzo and Rahel Maria Rilling, the violist Amihai Grosz together with the cellist Dávid Adorján) Together with a piano alive with tremolos.
One more carry out, also inexplicably Excellent, was Stravinsky’s “Some Tracks of William Shakespeare” (1953), 1 of many composer’s quite 1st ventures into twelve-tone tunes, scored for voice, flute (Kaspar Zehnder), clarinet (Andrew Marriner) and viola. Ms. Kozena gave a beguiling efficiency of the skittish and coolly wonderful create, Significantly the slyly sweet “Musick to heare.”
The Shakespeare concept ongoing with Strauss’s “Drei Lieder der Ophelia,” the only real tracks on This system Combined with the usual pairing of voice and piano. Strauss captures Ophelia’s instability in audio that slips involving sumptuous lyrical flights and bouts of fractured eeriness. Mr. Rattle delivered delicate and articulate accompaniment to Ms. Kozena’s eloquent singing.
She sounded sensual https://nutyliterowe.pl and earthy in Ravel’s intoxicating “Chansons Madécasses,” where by by the piano, cello and flute areas are like equal companions inside a dialogue Employing the voice. And, Whilst using the Strauss tracks However new new In the ear, it had been fascinating to hear Brahms’s “Ophelia-Lieder,” people today tune-like options of a lot of of the very same Shakespeare texts, executed in depth in the following paragraphs within an arrangement for voice and thick-textured string quartet by Aribert Reimann.
Using 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 professional a touch of wailing klezmer In this feisty In general Total performance. Then she concluded with 6 Dvorak tracks, charged alternatives of people texts that recount the travails and absurdities of rural Life-style. Beneath, finally, all eight performers joined together with each other.
At present currently being an encore, Ms. Kozena gave a poignant account of Strauss’s “Morgen.” Mr. Guzzo executed the melancholy violin melody affectingly, No matter that Mr. Rattle reverently rendered the orchestra about the piano, With many of the Other people starting to be a member of in Whilst utilizing the track’s consoling summary.
Magdalena Kozena
Executed on Tuesday at Alice Tully Corridor, Lincoln Middle.