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Posts Tagged ‘Katarina Karnéus’

Minors Major By The Manchester Ship Canal

In Classical Music, Opera, Review, Richard Wagner on July 15, 2012 at 2:19 pm

Review: Die Walküre, Opera North (Saturday 14 July 2012)

Siegmund – Erik Nelson Warner
Sieglinde – Alwyn Mellor
Hunding – Clive Bayley
Wotan – Béla Perencz
Brünnhilde – Annalena Persson
Fricka – Katarina Karnéus
Valkyries – Miriam Murphy, Katherine Broderick, Jennifer Johnston, Emma Carrington, Meeta Raval, Madeleine Shaw, Antonia Sotgiu & Catherine Hopper

Artistic Consultant – Dame Anne Evans DBE
Concert Staging, Lighting & Projection Designer – Peter Mumford

Orchestra of Opera North
Conductor – Richard Farnes

Perhaps my expectations were too high after a near perfect Das Rheingold, but Opera North’s return for Die Walküre at The Lowry on the banks of the Manchester ship Canal was not as satisfying. In fact, if truth be told it was more than a little disappointing both in the casting department and the overall sweep – or lack of it – from Richard Farnes.

And at the end of the evening, the two strongest and most memorable performances were actually those that are traditionally seen as minor characters – Hunding and Fricka.

I have most recently seen Clive Bayley as Daland in the ENO production of The Flying Dutchman and as I said at the time, his was an impressive, strongly characterised performance. And it was the same here. His Hunding was vocally rich and resonant, smooth and consistent throughout his range. And his diction was perfect. The way he sneered “Wölfling” summed up not only the way he viewed Siegmund but his very approach to life – brutal and arrogant.

And every time I see Die Walküre I am forced to reassess Fricka as a character. Twice before – in New York with the incredible human performance by Stephanie Blythe, and in Hamburg with the formidable wife of Wotan played by Lilli Paasikivi – I have seen Fricka portrayed not as an incidental character as she is so often considered by directors (and conductors) but as a pivotal role in the unfolding story.

And at The Lowry Theatre, Katarina Karnéus delivered an excellent performance. Unlike the other characters, from her first appearance she inhabited the stage, striding around her husband and before she exited stage left, sneering at Brünnhilde. And as she left, having secured her hollow victory – for had she not succeeded who knows how the Ring would have unfolded – that simple wave of her wrist said it all – Fricka was a woman of significance. And vocally, bar a few minor problems of intonation – which I have commented on before – it was a strong, characterised performance. Karnéus revelled in Fricka’s words and they were delivered with steely conviction.

Alwyn Mellor was similarly a strong Sieglinde. Her voice rode above the orchestra with ease and what it lacked perhaps in colour it made up for in richness. Her singing in the First and Second Acts was incredibly strong but by the final act she was clearly tired and her O hehrstes Wunder! Herrliche Maid! sounded a little tight. But I see from the programme that she is scheduled to sing Brünnhilde in Paris in 2013 and, if she can resolve her pacing, that would be worth seeing.

Siegmund sounded like a role just ever so slightly outside the reach of Erik Nelson Warner. While he was a pleasant voice – although again without much sense of colour or dynamic inflection – it felt that even the First Act was just a little beyond his stamina. However he did recover admirably in the Second Act. As with Ms Mellor, it might just be a question of pacing himself correctly.

But it is a shame that the two major characters were such a disappointment overall.

The Brünnhilde of Annalena Persson was ultimately flawed. This is – pace Wotan – the principle role in The Ring cycle and it requires a soprano not only with heft, but one who has an iron grip on their technique. Persson’s voice can clearly cut through an orchestra and while she has a strong lower and middle range, as she moved above the stave her voice became uneven, shrill and suffered significant and uncomfortable intonation problems. And this was compounded as she forced her volume. It was a shame because literally in her closing moments I thought I caught a glimpse of potentially an amazing Brünnhilde. But I think it is a role she should in future approach carefully and perhaps with more study.

Wotan is certainly as big a casting challenge as his daughter and in my opinion it isn’t a role that Béla Perencz. While it was clear – as outlined in the programme’s biography – that he has had belcanto training – his voice was quite Italianate and there was no faulting his sense of legato or vocal colouring – he didn’t have the stamina. By the final scenes of the act he was vocally exhausted and as well as having quite significant intonation problems personally I found his verismo inflections – at Leb’ wohl for example – almost too distracting at times. If he does attempt this role in the future – and perhaps after some careful consideration – I hope he will be more Nordic god and less Pagliacci.

And for me the Valkyries were overly strident. The fact that they made the hairs on the back of my neck stand up wasn’t from an electrifying and compelling performance but rather that they seemed – almost to a part – to sing everything at the loudest volume all the time and with little vocal finesse.

After the loving and careful attention to detail from the cast of Das Rheingold I had to wonder if Dame Anne Evans was as involved as in this Die Walküre.

As for the staging, it was very basic even for a concert production. Unlike Das Rheingold, Peter Mumford didn’t seem to have developed anything other than the most basic ideas. The projections were for the most part uninspiring as was the lighting. And a small niggle, why ravens for the Valkyries? The ravens serve a different and unique role in Wagner’s Ring and they are definitely not designated as dead-warrior-carriers as far as I am aware.

So finally to Richard Farnes and the Orchestra of Opera North. As in Das Rheingold the playing of the orchestra was of an incredibly high standard. The strings were warm in that very European way, the woodwind were beautifully light and pointed and the brass suitably punchy.

Yet Farnes did not deliver a clear and cohesive performance and didn’t always pull out the orchestral colour and depth as he had in the first opera. The First Act was taken at quite a deliberate and measured pace. There is nothing wrong with that. Listen to Mark Elder’s recent recording for example. The Second Act was brisk enough with Farnes returning to a more measured tempo for the final Act. But personally it felt like Farnes was conducting a series of highlights with music in between. For example, in the First Act the closing section with all that wonderful music for Siegmund and Sieglinde seemed a little mechanical but more disappointingly, Wotan’s monologue in the Second Act seemed rushed and unarticulated with little attention to detail. Although I think for this Perencz must share some of the blame. And the closing scenes of the opera suffered too. Leb’Wohl was taken at what seemed an inordinate canter before Farnes slowed down the music to such an extent that the orchestra for the only time in the entire evening sounded messy at the cadences.

But when Farnes was in his stride the moments were glorious. The dialogue between Brünnhilde and Siegmund was both dramatic and otherworldly as it should be, and those moments with just Brünnhilde and the wind sections in the closing scenes were achingly poignant in terms of the colour and transparency he elicited from the orchestra. It was at those moments that you could glimpse Persson as Brünnhilde. Nowhere else.

After such a magnificent Das Rheingold perhaps it was inevitable that Die Walküre would disappoint. It’s a giant-sized leap from the opening opera of the quartet and I feel that this Die Walküre needs more work and attention to detail. I hope that this happens before Opera North perform the complete cycle – rumoured to be in 2015/2016 – but also earlier than that, before Farnes tackles Siegfried.

Review – Orchestral Songs, Gustav Mahler (Katarina Karnéus/Gothenburg Symphony Orchestra/Susanna Mälkki. BIS)

In Classical Music, Gustav Mahler, Review on July 24, 2011 at 10:56 am

It’s to Norman Lebrecht and his marvellous book, Why Mahler?, that I owe a debt of gratitude to for helping me to develop a deeper appreciation, enjoyment of and ultimately love for the music of Gustav Mahler. Before reading it, I had struggled with his symphonies and lieder, more focused on waiting for the final bars than listening to the music itself. As I have said in a previous blog, I also think there is something to be said about learning to appreciate and enjoy certain composers as you get older and experience more. For me, Mahler is in that category.

Having developed a deep love of his symphonies – bar perhaps the Fourth, which I still struggle with – I moved onto his lieder with renewed interest.

Mahler naturally bestowed on his lieder the same attention in terms of orchestration and structure but his attention to the words – and by this I don’t only mean the texts themselves which were always so carefully chosen – but also the actual sound of the individual words and syllables themselves, was remarkable.

In any performance therefore of his vocal works all these elements – the orchestral writing, the structure, the words and the sound colours deliberately created – need to be considered and balanced against one another to create a perfect fit. And therefore the singer, orchestra and conductor must be in total synch.

Naturally no performance or recording can be perfect. The best we can hope for is ‘definitive’. And even then more than one recording or performance can be so-called.

And again these choices can be – and are – subjective. It can depend not only on different individual expectations but also on mood, time and environment.

But nonetheless ‘definitive’ is a good yardstick when confronted by a recording that confounds and ultimately disappoints. As does this recording of Mahler lieder by Katarina Karnéus. Having listened to this recording over many weeks, I always felt myself drawn back to Christa Ludwig, Janet Baker, Kathleen Ferrier, Fritz Wunderlich and Thomas Hampson.

Winner of Cardiff Singer in 1995, Swedish-born Karnéus has several lieder recital discs under her belt and her recitals of Sibelius and Grieg are particularly notable. Interestingly her very first recording accompanied by the estimable Roger Vignoles featured four of the Rückert lieder featured in the new recording, leaving out Um Mitternacht. I returned to these original performances – granted with piano rather than orchestral – for comparison.

Understandably the performance – piano as opposed to orchestral accompaniment – is different. However the key elements of any performance, particularly Mahler’s lieder, remain the same – clarity, diction, nuance and depth and a supportive accompanist.

The disc opens with Kindertotenlieder and I was immediately struck by the richer, more resonant timbre of Karnéus voice, ideally suited to this repertoire. Nun will sie Sonn’ so hell aufgeh’n, with it’s exposed opening and transparent scoring starts well enough with plangent oboe playing but as Karnéus unfolds the vocal line there is more than a little hint of imprecision in terms of tuning which is further marred by her use of vibrato. Vocally Nun seh’ Ich wohl is an improvement with Karnéus keeping a tighter control on the vibrato and unexpected blooms in her singing. Karnéus’ attention to the text occasionally seems overdone, as if she has confused pointedly annunciating almost every syllable as a means of interpretation.

Wenn dein Mutterlein is similarly distracting and towards the end at – O du, des Vaters Zelle – her intonation once again goes wayward.

Oft denk’ Ich, sie sind nur ausgegangen is performed well enough but comes across as dispassionate and almost bland, with no sense conveyed – as by Janet Baker for example – of empty hope.

The final song in the quintet, In diesem Wetter, ultimately betrays one of th key reasons why the performances are so uncompelling. The orchestra under Mälkki is unsympathetic and plain. They fail for example in managing the driving opening of this song, with its sforzandi and pointed wind and brass figurations in comparison to either Barbirolli for Baker or Boulez for von Otter.

And yet the performances of Lieder eines fahrenden Gesellen are worlds apart in terms of performance and noticeably improved. The opening two songs, Wenn mein Schatz Hochzeit macht and Ging heut morgen übers Feld are more distinctively played by the orchestra and as a result Karnéus’ own performances seem freer and less constrained and rhythmically alert with no sense of any intonation problems. Similarly in Ich hab’ ein gluhend Messer, the orchestra finds the necessary bite which in turn encourages Karnéus own performance. Here she finds the right balance of word colour and interpretation as opposed to the worrying heavy annunciation of Kindertotenlieder. As a result, the ending of this song is bitingly bleak.

The opening song of the Rückerlieder, Blicke mir nicht in die Lieder, seems to go at one hell of a pace but in fact in comparison with other performances – bar Baker and Christianne Stotlijn – this seems to be the performance norm. The orchestra continues to hold up its own side of the bargain, ably supporting Karnéus in this song as in the remaining songs of the cycle. For example, the gentle momentum of Ich atmet einen linden Duft! is well controlled below the vocal and wind lines as is the fluidity required in the string accompaniment of Liebst du um Schönheit.

By reversing the order, Karnéus ends her Rückerlieder cycle with Um Mitternacht and Ich bin der Welt abhanden gekommen. With the former we are once again in the exposed orchestral world of the opening song of the disc, but the level of emotional intensity ism maintained almost throughout building successfully to In deine Hand gegeben! to the end of the song with Karnéus in fine voice.

Ich bin der Welt abhanden gekommen is for many the yardstick for any performance of this song cycle. And Karnéus does not disappoint with an expansive performance of this fine song. And while she may not quite achieve the serenity of Janet Baker, Und ruh in einem stillen Gebiet!, so delicately underpinned by the orchestra is a beautiful moment. And Mälkki succeeds in winding down the closing bars effectively.

It’s a shame that the opening performances of Kindertotenlieder mar what ultimately could have been a fine recital disc. Karnéus has the voice ideally suited to this repertoire – and I look forward to hearing her in Richard Strauss – and considering the quality of both the Lieder eines fahrenden Gesellen and Rückerlieder I have to wonder if it was a lack of rehearsal or empathy that leads to a disappointing Kindertotenlieder.

But ultimately this new recording doesn’t quite clinch it for me. While Katarina Karnéus turns in a competent performance of two of Mahler’s song cycles, ably accompanied for them most part by the Gothenburg Symphony Orchestra and Susanna Mälkki, the final impression is one of disappointment which has me reaching for other performances.

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