Staatskapelle Berlin

On our final night in Berlin we visited Philharmonie, the concert hall for the Berlin Philharmonic. The Berlin Philharmonic was on tour, as usual, and we saw instead the Staatskapelle Berlin.  Disney  Hall in Los Angeles looks far odder on the outside, but inside this one is very confusing indeed.  In fact one of our group members got lost, and a search party had to be dispatched.  Here is the view on the inside.

It was a very wowie concert.  We started off with that rarest of pieces, the Rachmaninov Third Piano Concerto.  I feel fairly certain I haven't heard it before.  A piano concerto is supposed to be a  battle between equals, but in this work the piano wins hands down.  In the first movement the orchestra hardly has a chance to compete.  For the pianist it is notoriously, spectacularly difficult.  Our pianist was Daniil Trifonov, and he never stumbled once.  If you haven't heard of him, watch out.  It was marvelous.

The second half of the program was Manuel de Falla's Three Cornered Hat.  It was fun and very loud.  That might possibly be a problem with really good acoustics.

Poeme D'Un Jour

My copy arrived today.  The whole thing is in French and Spanish, and all of it is gorgeous.

Ailyn Pérez is a lyric soprano with a range of colors at her disposal.  In her 40s she will probably become more of a spinto, but for now she is firmly in the lyric Fach.  She probably most closely resembles Victoria de los Angeles who sang a little Wagner for no reason that anyone can recall.  Ailyn is already slightly heavier, slightly darker than Victoria.

They also share the gift for French and Spanish repertoire.  Ailyn uses her colors to great effect in this very stylish album.
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El amor brujo

I think it's supposed to be something like this.

Before and after the Berkeley concert was a party, and one of the guests told of seeing Carmen Amaya, the great flamenco dancer, dance El amor brujo. Guest was only 8 at the time and never forgot it.


This is a bit of Carmen.

Berkeley Symphony

The Berkeley Symphony, which performed last night in Zellerbach, has a new music director since Kent Nagano stepped down from the position in 2009 after 31 years.  Her name is Joana Carneiro and she comes to Berkeley from Lisbon by way of Brazil by way of Paris....  The list gets a little long.  She likes to talk and speaks virtually unaccented Berkeley English.  Welcome.

She talked for a while about Enrico Chapela, a composer from Mexico City whose piece Private Alleles was debuted last night.  The title of the piece refers to genetic studies of the native populations of Mexico.  To quote Wikipedia "His style amalgamates elements of Jazz, Rock and the Latin-American tradition with classical serialist techniques, which often are used in a playful manner."  Playful serialism.  Hmmm.  For my ears he sounds post modern.  It was ok but not at all memorable.  He came up for a bow.

Then she talked about Lorraine Hunt Lieberson whose presence was invoked with a gesture toward the viola section where at one time she was principal viola.  Many still in the orchestra were her friends.  This was part of the introduction to Neruda Songs by Peter Lieberson, a set of five love songs that was written both to and for his wife Lorraine.  If you have not heard them in her voice, you should change that immediately.

It was brave of mezzo Rachel Calloway to take them on in this place where Lorraine is still so well remembered.  I could not help comparing. 

Rachel Calloway was also the soloist in de Falla's El amor brujo suite.  Both of these pieces are too low for Rachel's voice, especially El amor brujo where she actually struggled to make the right effect.

The Berkeley Symphony is showing the effects of having a conductor who can spend sufficient time with them to bring out their more wonderful qualities.  It was well programmed, well conducted and well played.

Night and Dreams

I’m glad I decided to buy Night and Dreams instead of the more typical Wesendonck album. 

Measha Brueggergosman is an artist who has self-consciously eschewed opera in favor of the concert stage.  I have wondered what would become of this singer, seemingly so obviously destined for Strauss operas, or perhaps even Wagner.

There are, of course, lots of people who only want to hear lyric sopranos in virtually all repertoire, and some of them even read this blog.  Measha is a spinto with a lovely full tone who can color her voice light or heavy, dark or bright.  She can also find the line with these colors.  Without the line there is nothing. 

There are language coaches listed for French, German, Brazilian and Spanish.  French repertoire is represented by Fauré, Chausson, Poulenc, Liszt, Debussy, Duparc and Hahn.  For German we have Mozart, Schubert, Brahms, Wolf and Strauss.  Spanish is Montsalvatge and Falla.  That must mean that the song by Francis Hime is in Brazilian.  Is that enough?  No?  Then there is Sleep by Peter Warlock in English.

I prefer the late romantics of any language in her voice.  Every song selected for this album does not successfully go spinto, but enough do.  More passionate renditions you will not hear.

Justus Zeyen is the piano accompanist, transparent and gorgeous in every style.

Learn to love big.  You won’t regret it.
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