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Tabea Zimmermann

Wednesday, September 20, 2017


My Classical Notes

July 16

Hamburg’s New Concert Hall

My Classical NotesIt is definitive news when a new building for the performing arts opens its doors. No, not in the US. Rather, this is a brand new building in Hamburg, Germany. The Elbphilharmonie in Hamburg presented its Grand Opening Concert with performances of the following works: Beethoven: Symphony No. 9 in D minor, Op. 125 ‘Choral’: Ode to joy Britten: Six Metamorphoses after Ovid for solo oboe, Op. 49 Caccini, G: Amarilli mia bella Cavalieri: La Pellegrina: Dalle piu alte sfere Dutilleux: Mystère de l’instant: Appels, Échos et Prismes Liebermann, R: Furioso for Orchestra Messiaen: Turangalîla Symphony: Finale Praetorius, Jacob: Quam Pulchra es a 5 Rihm: Reminiszenz – Triptychon und Spruch in memoriam Hans Henny Jahnn Wagner: Parsifal: Prelude to Act 1 Zimmermann, B A: Photoptosis – Prelude for large orchestra, with Philippe Jaroussky, Sir Bryn Terfel, Wiebke Lehmkuhl, Pavol Breslik, Hanna-Elisabeth Müller NDR Elbphilharmonie Orchester, Ensemble Praetorius, NDR Choir, and the Chor des Bayerischen Rundfunks, Thomas Hengelbrock conducting. The Elbphilharmonie is undoubtedly the new landmark of Hamburg, a monumental combination of breath-taking architecture, a unique location and a world-class concert hall. In this recording, the NDR Elbphilharmonie Orchestra, under the baton of Principal Conductor Thomas Hengelbrock, and several top-class soloists explore the possibilities of the Elbphilharmonie’s Grand Hall and its acoustics with an exciting program that spans across all musical eras, from the Renaissance to the present. It culminates in a brand-new commissioned work, created especially for this occasion by the most important living German composer. BONUS: This documentary accompanies the formation process of this grand building, from the first sketches, to the rehearsals before itS festive inauguration. Here is Gustavo Dudamel, conducting the Symphony number 9 by Beethoven at the Elbphilharmonie in Hamburg:

My Classical Notes

August 31

Viola Sounds of Tabea Zimmermann

I have neglected to write a new post about violist Tabea Zimmermann. I have been a fan of her playing for many years, particularly her chamber music interpretations. Let me fix that right now. First, here is the Maerchenbilder by Robert Schumann: And next, here she is in an early recording of the Arpeggione Sonata by Schubert: Finally, here is Tabea Zimmermann in the string symphony by Mendelssohn:






Tribuna musical

May 16

Wagner before Wagner: “Forbidden love” premièred at the Colón

The Colón hasn´t offered Richard Wagner´s "The Mastersingers of Nuremberg" since 1980, though it is arguably the greatest German operatic comedy of the Nineteenth Century; this in a big opera house of important history is quite simply an aberration. And "Tannhäuser" isn´t staged here since 1994. The composer´s second opera, "Das Liebesverbot" ("Forbidden love"), written in 1835-6, is clearly mediocre, and the only reason to present it is that for aficionados it´s a curiosity that, warts and all, in its better fragments gives some inklings of the great Wagner revealed in 1841´s "The Flying Dutchman" (though premièred in 1843). In fact, his first opera, "Die Feen" ("The Fairies"), created in 1833-34, was belatedly staged posthumously in 1888, and there the hints of the future are more evident. And of course, in "Rienzi", on Bulwer Lytton´s novel about Rome´s last tribune, even if it follows grand opera lines; it was composed in 1838-40, and had its first hearing in 1842 at the Dresden Court Opera: Wagner´s fame got a decisive giant step. Wagner was only 22 when he started on "Das Liebesverbot", a free adaptation of a problematic Shakespeare comedy, "Measure for measure", transplanting it from Vienna to Palermo (Sicily). It´s one of three comedies called "bitter" or "dark", the others being "Troilus and Cressida" and "All´s well that ends well". They were written in the difficult years before and after the death of Elizabeth I (1603) and they offer "a distempered vision of the world", especially "Measure for Measure" (1604-5), "searching, unsettling and precarious play" (Encyclopedia Britannica). I haven´t been able to compare it with Wagner´s libretto, but I have to state that I find the latter an aberration of continuous contradiction and improbability, from the very premise: Friedrich, Governor of Palermo, imposes the death sentence to anyone that indulges in sex for pleasure, and this in the middle of Carnival celebrations. No less absurd is Isabella´s behaviour: a severe woman living in a convent, she does expose Friedrich´s hypocrisy (he desires her) but in the final scene she robs the equally hypocritical Luzio from the light-hearted Dorella (to whom Luzio had promised marriage) and leaves the convent. And so on. Wagner had been named conductor of the small Magdeburg opera house; facilities were few, orchestra and choir were weak and the cast very poor, but the composer wanted this ragged lot to learn a long and complicated opera in just ten days. The only two programmed performances failed utterly (the second was cancelled!), and Wagner tried in vain to obtain the support of other cities in the following years to offer "Das Liebesverbot" (curiously he didn´t even try to get them interested in "Die Feen"). So the opera lay forgotten for more than a century; and of course Bayreuth never staged the three initial Wagners. Until it was revived in 1923 in Munich with scant success. But matters changed in 1983 when Munich Opera´s Musical Director Wolfgang Sawallisch conducted all thirteen Wagner operas celebrating the centenary of his death: the ponderous (more than four hours) "big comedy"-"grosse Komische"- was judiciously pared down to two hours forty minutes, and with fast tempi and Jean-Pierre Ponnelle´s talented staging it became a success and was recorded live. I own that recording (edited much later, in 1995) and find it very good. It puts the best possible face on a problematic opera. The Colón production lasts about the same and is based on the score edited by Breitkopf & Härtel. And as so often nowadays, it is shared by several theatres to cut costs: originated in Madrid´s Teatro Real, it is co-produced by Covent Garden and the Colón. The London theatre is there for the simple reason that the stage director Kasper Holten (debut) was until very recently the Covent´s Opera Director (in a polemic tenure that allowed such things as a gory "Lucia di Lammermoor"). In fact this comedy is seldom funny and the music is a mixture of influences that go from Bellini to Auber and Weber. There are much better German comedies in those Romantic decades, but the Colón ignores them: Lortzing´s "Zar und Zimmermann" (1837), Nicolai´s "The Merry Wives of Windsor" (1849), Weber´s "Abu Hassan" (1811), Cornelius´ "The Barber of Baghdad" (1858). There´s some sparkle in the Wagner Overture and second Carnival scene, and a modicum of drama in the interview of Isabella and Friedrich; plus lyricism in Mariana´s aria (the rejected wife of Friedrich) and a nice duet of Isabella and Mariana. I single out the Isabella of soprano Lise Davidsen (debut, Norwegian, very tall, young and imposing): a stunning voice of ample volume and range, managed with great skill: a Senta or a Sieglinde in the making. I wasn´t impressed by the arid timbre of tenor Peter Lodahl (debut, Danish) as Luzio, although he moves well. Our Hernán Iturralde was a sturdy and professional Friedrich. Christian Hübner (German bass, debut) did a convincing Brighella (maybe the most authentic "buffo" role), an arrogant policeman happy to arrest and judge... but he goes to the clandestine Carnival: the rough deep voice is also accustomed to the great Wagnerian villains (Hunding, Hagen). The Spanish light soprano María Hinojosa did a charming Dorella and Marisú Pavón sang with fine line her Mariana. Tenor Carlos Ullán seemed uncomfortable in the role of the condemned Claudio. The others did well, especially Norberto Marcos (Angelo); Fernando Chalabe was Pontio Pilato (what a name!), Sergio Spina, Antonio; and Emiliano Bulacios, Danieli. Slovak conductor Oliver von Dohnányi did an effecrtive job of preparation, obtaining reasonable quality from the orchestra, and Fabián Martínez managed well the abundant choral music. As to Holten´s production, of course he didn´t respect the 16th Century specified in the libretto, and neon lights mixed with colorful buffo costumes and a handsome unit set full of stairs (a touch of Escher extravagance). Friedrich was ridiculed grabbing a teddy bear in bed. Stage and costume designer, Steffen Aarfing. Interesting lighting by Bruno Poet, and acrobatic choreography by Signe Fabricius (with good dancers hired for the occasion). There was a second, all Argentine cast. For Buenos Aires Herald

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