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Seen and Heard International, May 24, 2013 |
Michael Cookson |
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Wagner-Geburtstagskonzert, Dresden, 21. Mai 2013 |
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Dresden Festival 2 : Dresden Remembers its Strong Associations with Wagner
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On the eve of the bicentennial of Wagner’s birth Christian Thielemann
conducted the Staatskapelle Dresden in a programme of Wagner overtures and
great tenor opera scenes. How wonderfully appropriate it was for the
Staatskapelle to play these Wagner scores all premièred either in whole or
part by this orchestra in Dresden where the composer resided and made his
name. For the vast majority of those present I should think it was
heartthrob tenor Jonas Kauffmann who was the main attraction. So with
Kaufmann singing Wagner the audience had the best of both worlds.
Incisive and direct, as soon as music director Christian Thielemann
commenced the overture to The Flying Dutchman, the weight of orchestral
sound was astonishing almost forcing this listener back into his seat. It
was soon evident that a world class orchestra was playing as clearly as
Wagner could depict in music a storm at sea. The sense of drama and a
substantial degree of fear was present with the music ending in a beautiful
calm. Equally exceptional was the revised version of the Faust concert
overture with a mood that varied between disquiet and anticipation. In the
Rienzi overture the orchestral weight behind the memorable main melody was a
stunning experience and in the Lohengrin prelude the opening on the high
strings contained a celestial glow. Exquisitely pairs of horns, bassoons and
clarinets opened the Tannhauser overture with Thielemann ratcheting up the
tension, creating the perfect blend of assurance and sheer drama. Gloriously
unified with a luscious timbre there was an object lesson in horn playing;
an instrument so difficult to master.
The only non-Wagner work on the
programme was Hans Werner Henze’s Fraternité for large orchestra that the
composer described as an ‘air’. I guess that the composer’s death in October
2012 was the reason for altering the planned performance of the orchestral
score Isolde’s Tod. I’m glad I had the opportunity of hearing Fraternité
played by such a wonderful orchestra. Taking around twelve minutes to
perform this is a bold work with writing as dense as a Richard Strauss tone
poem, and with little in the way of dissonance, and easily accessible.
Creating a sense of dark menace I loved the trombone part with the timpani
and the relative peace created by the cor anglais solo was only short-lived
as the threatening mood returned with a vengeance.
Never one to hang
about taking curtain calls as soon as Thielemann left the stage after the
Faust overture he returned immediately with Kaufmann to burst headlong into
Rienzi’s Prayer. With passion and poise Kaufmann sang Allmächt’ger Vater
(Almighty Father!) a heartfelt proclamation of Rienzi’s confidence in the
Roman people. In the Gralserzählung (Grail narration) from Lohengrin, In
fernem land (In a far off land) the dramatic tenor was, with evident ease,
able to supply full meaning to the text. Kaufmann’s final aria was
Romerzählung (Rome narration) from Act 3 of Tannhauser, Inbrunst im Herzen
(With such devotion) with its striking brass laden climaxes. Looking
strangely boyish in demeanor Kaufmann sang with real intensity, modulating
confidently through his range, revealing his dark lower register and a
deceptive power. Noticeable was the refined quality of the Bavarian tenor’s
diction together with a riveting delivery of the text. Such was the elevated
quality of both singing and orchestral playing I couldn’t help wondering if
these tenor scenes have ever been performed better. I expected Kaufmann to
provide his enthralled audience with an encore but time didn’t allow. It
turned out that immediately after the concert both he and Maestro Thielemann
had an arranged spot on a live television broadcast from the Theaterplatz
just outside the opera house.
Listed in the programme was a
pre-arranged encore Einzug der Gäste auf Wartburg (Entrance of the guests at
the Wartburg) from Tannhauser Freudig begrüßen wir die edle Halle (Joyfully
we hail the noble hall). For this three trumpeters decamped to one of the
forward-most boxes for the opening fanfare and the men and women of the
Staatsopernchor Dresden were divided on each side of the side gangway of the
stalls. Adding variety to the programme this beautifully sung and performed
score had a most uplifting effect providing a highly satisfactory conclusion
to a wonderful evening at the Semper Oper.
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