Iván Fischer Enescu Bartók Mahler 4 Prom 54

Iván Fischer and the Budapest Festival Orchestra, BBC Prom 54 at the Royal Albert Hall, with Enescu, Bartók and Mahler with Anna Lucia Richter as soloist.  A provocative start to the programme with just the first movement (of 4) from George Enescu's Suite for Orchestra op 9 (1903), marked "Prélude à l'unisson".  Though the movement itself is short (9 minutes) it contains within itself the themes which the following movements will develop, returning in the end to a recapitulation of the beginning.  It is cyclic, and also an exercise in unison, the instruments in balance, suggesting a serene sense of natural order.  Fischer's choice was inspired, since it enhanced the impact of  Mahler's Symphony no 4 in G major to come, creating another mini-cycle, utterly appropriate given that Mahler's Fourth deals with the continuation of life on a different plane.   Fischer moved seamlessly from Enescu to Bartók Music for Strings, Percussion and Celesta (1936).  Patterns, again in the structure, where tranquility is balanced by staccato liveliness.  Good definition of the sub-sections in each movement, emphasizing the inventive variety : particularly attractive balances between the two groups of strings,  the darker voices contrasting well with the brightness of piano and celeste, and pounding percussion.  Bartók is in the lifeblood of the Budapest Festival Orchestra, founded by Fischer in 1983.  Arguably few ensembles do Bartók with as much idiomatic flair as this conductor and this orchestra, but even by their very high standards, this was a superb performance. Fischer was suffering from an eye disorder, but his powers were not diminished.
Plenty of gusto in Fischer's Mahler Symphony no 4, too, taking off with exuberant energy. The sleigh bells aren't there just as folksy decoration.  No cars in Mahler's time, so if you wanted horsepower,  horses were where it was at.  Trains might have been faster, but horses are living creatures, a significant image in a symphony which deals with life and physical enjoyment.

Furthermore, speed alone isn't important, since Mahler marked it "Bedächtig, nicht eilen" not mad rush but orderly but unstoppable progression.  A sleigh ride is a journey,  rather like the cyle of life and death. Thus the transition to the restrained second movement, elegantly defined.   At first the solo violin sings alone, then is joined by other instruments. Again, the symphony in essence.  Everyone dies alone, but hopefully becomes part of a heavenly community.   Some conductors bright out the  malevolence in the violin part, evoking the medieval dance of death.   In this case, however, the malevolence was understated, the violin, as a friend put it,morelike a village fiddler.  That's not a problem, given that many listeners conceive that this is a "happy" symphony, which iut isn't, really.  On the other hand, Fischer marked the chills in the strings so they felt like cold, cutting winds (sleigh-ride imagery again), and also the circular figures that follow, again emphazing cyclic change.  Gradually the movement subsides before the sudden blast of sound, underlined by timpani and brass, that marks what might be the transitional moment, whatever it might signify.  Richness and serenity returned,  clean, high-pitched vibrations emanating into the distance.

No break before the final movement, enphasizing the coherence of the symphony as a whole.  Anna Lucia Richter has a nice, pure tone, but also the sensuality that inspires the child's vison of a heaven full of nice things to eat.  Some commentators have wondered why the child is so decidedly un-spiritual, and questioned the images of killing.  The text, however, derived from oral traditions recorded in Des Knaben Wunderhorn (the book not the song collection), whose audiences would have made connections between the slain lamb and Christ offering himself as sacrifice, and to the children sacrificed in St Ursula's crusade.  In any case, the idea of famine and death can be a metaphor for artistic edeavour : an idea not lost on Mahler who connected Das himmlisches Leben with Das irdisches Leben.  I first heard Richter when she was only 21, singing Hugo Wolf with Christoph Prégardien who has a thing for nurturing young singers.  She had the pure tone that works well with Wolf, but also a feel for the wilder edges of Mörike's poetry. These talents paid off well in this symphony, where a similar dichotomy exists. Richter has come a long way and is now well established. She used to specialize in Mozart, and probably always will, so it was fitting that her encore was Mozart Laudate Dominum, with members of the Budapest Festival Orchestra singing behind her. 

Watch Janowski's Ring Enescu Festival

Marek Janowski's Wagner Ring at the Enescu Festival in Bucharest continues with Siegfried on Thursday 19th at 1700,  and Götterdämmerung on Sunday 22nd at 1700. No repeats, only live, but it's worth making the time for if you can. Das Rheingold on Sunday was enjoyable, in an energetic way, but Die Walküre was something special. Janowski's style is vigorous, but direct. Not for him the overripe "romance"  some expect in Wagner even though the operas are hardly sentimental by nature. He conducts the Radio Symphonie Orchestra Berlin who may not be as glitzy as Bayreuth but are pretty good.

But listen, too, for the singers, especially Egil Silins. He's a regular on the Wagner circuit  but doesn't often appear in English-speaking countries. His well-modulated control of line suggests Wotan's personality rather well. How Wotan became leader of the Gods, we don't know, but we do know that he's no saint, and may constantly be struggling between his weakness and the power of his position. The Ring isn't about heroes so much as flawed people trying to do the best they can. Silins isn't a flashy personality, but his disciplined technique evokes something of Wotan's hard-won mastery of the wilder forces within himself. Silins is reserved, but when he sings Wotan's confrontation with his daughter, he shows the fragility within., which Wotan usually has to conceal..

Petra Lang is always interesting, and her Brünnhilde is convincing. Without her trademark fiery locks and in evening dress, Lang looks like an ordinary woman, but that helps characterization too. She's strong enough to be a Valkyrie but is also human. I was surprised at the tenderness she brings to the part, especially for a singer who can create demonic Ortruds. A pity that she won't be singing Brünnhilde, awakening from the flames.

On Thursday, Stefan Vinke will sing Siegfried fresh from Seattle. Catherine Foster will sing Brünnhilde fresh from Bayreuth, where much was made of her being the first English Brünnhilde. there. Since the role has no nationality, this alone means nothing. Foster is pleasant enough, if that's what they mean by "English". Martin Winkler sings Alberich and Arnold Bezuyen sings Mime, reprising their roles from Das Rheingold. Both very effective. The George Enescu Festival in Bucharest is definitely on the international map, and they do things to the best of their resources, without fuss. Nearly all concerts are being streamed live, including Enescu's Oedipe around which the Festival was built.

Janowski Wagner Ring livestreamed from Bucharest

Marek Janowski conducts the complete Wagner Ring from today, live streamed form the George Enescu Festival in Bucharest. He's a very interesting conductor, and he's conducting RSO Berlin.  The casts include good names, like Torsten Kerl, Martin Winkler, Petra Lang, and others. I'm enjoying Das Rheingold right now - vivacious performance. Click HERE for details of dates and times.  Notice how eruditely they refer to the Ring as a tetrology, not a cycle!

They're doing Enescu's Oedipe, of course, on 26/9 but many other goodies. The Enescu Festival has developed greatly in recent years and is now firmly on the international circuit, though it doesn't get the publicity it deserves. Several of my friends are regulars, because Bucharest is good value and a charming city. Although there's an outcry because Enescu's house isn't being preserved, Romania is much more supportive of the arts and of music education than many wealthier countries, the UK, for instance. Thus, listen to Janowski's Wagner for the less starry roles - some of these singers are very, very good indeed.

Enescu Oedipe La Monnaie broadcast

George Enescu's Oedipe (premiered 1936) is at last making its way into the mainstream repertoire. It's not mindless easy listening, because Enescu's dealing with the primeval saga of Oedipus, from birth to death. Oedipus is cursed from the moment he's born. Weary, blind and dispirited, buts welcomed in Athens. but by then it's too late. Oedipus chooses death. Along the way, he's married his mother, killed his father and much else.

The latest production of Enescu Oedipe at La Monnaie/ De Munt in Brussels is now available free HERE until 2nd December. Leo Hussain conducts, which is immediately a plus, as he's very good. This version's infinitely sharper than the 2002 Edinburgh Festival performance which I learned the opera from.  Evan Dickerson, the leading Enescu specialist, covered the 2008 Toulouse Production (Steinberg). This cast includes Dietrich Henschel,  Jan-Hendrick Rootering, John Graham-Hall, Natasha Petrinsky, Robert Bork, Henk Neven, Ilse Eerens and the remarkable Marie-Nicole Lemieux. Direction and design by Alex Ollé and Valentina Carrsaco, forces behind La Fura dels Baus.

I'd heard horror stories about the production, since La Fura dels Baus are controversial, but it was much better than I feared.  Dark and forbidding - but this is a strange world, with irrational curses and tense, brutalized citizens, threatened by plagues, wars and disaster. A whole society in permanent state of anxiety. Of course it's not pretty. Images are glimpsed in shadow, as elusive as images in a nightmare. Yet this reflects Enescu's music, which throbs and flows like an invisible organism,  the vocal parts signposts to meaning. (Read NW-Paris's comment on my recent opera dream. Maybe prophecy is still with us.) So I don't have any problem with the Sphinx depicted as old fashioned aeroplane. Planes have wings, too, and often have female names. Sphinxes are quixotic! When Marie-Nicole Lemieux crawls onto the fuselage, she sings with demonic force. Fabulously effective. In a way, one might read the Sphinx as mother/wife. Since she's powerful, and female, she "must" be destroyed.

The production is claustrophobic, but that adds to the sense of foreboding. Jocasta "with the white arms" follows Oedipe in marriage and looks back, her arms now covered in blood. When Oedipus exits life, he walks through a narrow passage into light. Birth canal anxiety? Freud would have read much into this. So watch and listen. I won't say "enjoy", but this is a thoughtful  approach to an opera which can be deeply disturbing. Read the plot beforehand as a lifeline.

Enescu Festival Bucharest useful link

Several of my friends are in Bucharest for the Enescu Festival which features Enescu of course but lots more. One has sent a link to a very interesting site about Enescu, Romania and music of the Balkans (and Romanians in Paris). It's good reading as it's first person experiences by a very observant French journalist Alain Chotil- Fani. Great writing ! Find the link HERE
Read my previous posts on Enescu and Bucharest here
Please look at the comment under that post from a lasy in Bucharest who is doing regular updates as she goes every day ! http://aroundtheworldwithirina.blogspot.com

Enescu - how the arts can save the economy

When times get tough most countries slash public spending, without realizing that spending generates income. So much respect is due for Romania, which is suffering economic meltdown like everyone else, but supporting an ambitious arts programme. Read about Festival Enescu in Romania in this article by Ivan Hewett HERE.

It's an extremely ambitious festival, bringing in many mega names like the Royal Concertgebouw and Lief Ove Andsnes. Certainly an international festival, not just local interest. It's a daring venture for a small country, but if it succeeds it could make Bucharest the Salzburg of the south east. As it's been running several years now it's good to see it getting the publicity it deserves.

From all accounts, Bucharest is a remarkable place, still relatively untouched by bland modernism. Apparently it's also cheaper than most European cities. Several of my friend are there at the moment, one of them a regular. The Romanians are wise - festivals like this bring valuable income, and the kind of tourists who come don't get drunk and mess up - in fact they come back for more, which further increases interest in Romania's cultural stock. Were other countries that imaginative.

But the big draw is George Enescu. The photo shows the Enescu Museum in downtown Bucharest, a magnificently ornamental building, which houses the Enescu archives, returned to Romania after the change in regime. Enescu's music forms the core of the Festival, especially his opera Oedipe. Read more about it HERE The writer, Evan Dickerson, is an Enescu specialist, who's writing a book on the composer and the opera. There's also an older book on Enescu by Noel Malcolm, see HERE. It's not very big so one day perhaps there'll be more. Enescu was an interesting man and his music is lovely too, and quite accessible. Please also see my other post about Enescu and Bucharest HERE, with good new links to blogs !

photo credit

Enescu Oedipe Toulouse Joel Paris

Here's an analysis of Georges Enescu's opera Oedipe in Toulouse. Evan Dickerson, who writes the piece , is an Enescu scholar. He's writing a new book, too, which should be worth watching out for as there's relatively little available. (A few years back Toccata published a short bio) Google and you'll find a few of the other things Evan's written about this interesting but relatively neglected composer.

"This new co-production by Nicolas Joel between Toulouse and the International Enescu Festival is further evidence that Enescu’s mature compositions continue to gain serious attention before the public. There are unconfirmed rumours that the production might be seen at the Palais Garnier in Paris during the 2010-11 season, as Joel assumes control of Opéra de Paris in September 2009."

" The real beneficiary of the production though was the music, and no doubt as a conductor himself, Joel realised that this is where the emphasis should be. There is after all enough musical detail in Enescu’s score which deserves its chance to be heard, and not become swamped by stage action. A huge orchestra including additional piano, harmonium, celesta, glockenspiel, alto saxophone - and for purely dramatic effect also including a musical saw, wind machine, whip on drum, pistol shot and a nightingale’s song - is employed, but all are used with a great deal of restraint. This is further augmented by mixed adult and children’s choruses to add specific textural nuances to the narrative."

Read the whole piece here :

http://www.musicweb-international.com/SandH/2008/Jul-Dec08/enescu1010.htm