It’s widespread for star singers rehearsing about the Metropolitan Opera for making time for virtually any recital whilst they’re in The large apple. But the effects are not continually this enjoyable.
The mezzo-soprano Magdalena Kozena combined with the conductor Simon Rattle, who will be married, will probably be showing up in two months in Strauss’s “Der Rosenkavalier” to the Attained: 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 released a unique, novel and demanding process at Alice Tully Hall. (Earlier this yr, they released a recording based on This system, “Soirée,” more than the Pentatone label.)
Ms. Kozena picked tracks which were being like chamber functions for voice and a number of mixtures of equipment, commencing with Chausson’s seldom listened to, and ravishing, “Chanson Perpétuelle,” a 7-moment ecosystem of a Symbolist poem by Charles Cros for singer, string quartet and piano. The textual content is often a younger Woman’s wlazł kotek na płotek nuty - nutyliterowe.pl fraught account of The person who deserted her, proven to curiously melting lyrical strains, with moments of frayed depth.
Ms. Kozena sang with impacting heat and shimmering audio, supported by lush, agitated strings (the violinists Giovanni Guzzo and Rahel Maria Rilling, the violist Amihai Grosz along with cellist Dávid Adorján) In combination with a piano alive with tremolos.
The following run, also inexplicably Fantastic, was Stravinsky’s “three Tracks of William Shakespeare” (1953), one among quite a few composer’s initially ventures into twelve-tone tracks, scored for voice, flute (Kaspar Zehnder), clarinet (Andrew Marriner) and viola. Ms. Kozena gave a beguiling effectiveness of this skittish and coolly fantastic set up, Specifically the slyly sweet “Musick to heare.”
The Shakespeare topic continued with Strauss’s “Drei Lieder der Ophelia,” the one particular tunes on This technique for your conventional pairing of voice and piano. Strauss captures Ophelia’s instability in songs that slips relating to 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,” wherein the piano, cello and flute factors are like equivalent associates within a dialogue Using the voice. And, Along with the Strauss tunes nevertheless refreshing while within the ear, it Totally was interesting to hear Brahms’s “Ophelia-Lieder,” men and women track-like configurations of many of exactly the same Shakespeare texts, accomplished right in this article in an arrangement for voice and thick-textured string quartet by Aribert Reimann.
At the end 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 effectiveness. Then she finished with six Dvorak tunes, billed configurations of individuals texts that recount the travails and absurdities of rural life span. Right right here, eventually, all 8 performers joined collectively.
Currently being an encore, Ms. Kozena gave a poignant account of Strauss’s “Morgen.” Mr. Guzzo done the melancholy violin melody affectingly, whilst Mr. Rattle reverently rendered the orchestra about the piano, While using the Numerous Other folks becoming a member of in for that tune’s consoling summary.
Magdalena Kozena
Carried out on Tuesday at Alice Tully Corridor, Lincoln Middle.