Getting Seasonal Again with Three Beautiful Versions of Bach´s Magnificat

Magnificat BWV243

Actually, the Magnificat isn’t per see a Christmas-related work. It was however apparently very early on performed on Christmas Day, so it stuck around as a seasonal work. From a content perspective, this is actually about Mary, not Jesus.

This beautiful choral work has been recorded over and over again.

So instead of just picking up one version, let me write about 3 different versions that all have their merits, by outstanding musicians.

John Butt, Dunedin Consort (Linn 2016)

Bach Magnificat Dunedin Consort John Butt Linn 24 192 2016

John Butt takes the Christmas connection seriously, and tries to fully reconstruct Bach´s own Christmas performance in Leipzig. Appropriately, you get some organ music and the Christmas Cantata BWV 63. He even intersects a Vom Himmel Hoch Da Komm Ich Her, a traditional German Christmas Carol, in the middle of the work.

I’ve previously mentioned this album in my comments about the Gramophone Awards nominees in 2016, giving this album 5 stars. My high opinion hasn’t changed, it still is one of the most beautiful version around, and combined with Linn´s excellent recording skills, this is very much worth having. Particularly memorable about this performance is the choir in all its glory.

But let’s look at two recent alternatives:

Bach: Magnificat / Vivaldi: Dixit Dominus – Vox Luminis – Lionel Meunier (Alpha 2017)

Bach: Magnificat Handel: Dixit Dominus Vox Luminis Lionel Meunier Alpha 2017 24 96

This is the most recent release among the three I´ll be writing about. The French Alpha label (OutThereMusic) is one of the most reliable labels I know, usually you can buy them nearly blindly. Nicely enough these days you don’t have to as they are available on most streaming services, which is also what I did first.

Vox Luminis I must admit was new to me, but a bit of research tells me it is an outstanding early music choir from Belgium (a hotspot of early and historically informed performance if there ever was one). And increasingly, they are not only a choir but also built up their own early music orchestra with it.

So how different is this version? Well, if Dunedin is all about sparkle, this is more about nuance and detail. Both really are outstanding recordings of the Magnifcat, you’ll just get a different perspective. So, talking colors, Dundedin is sparkling, polished gold, whereas Vox Luminis is more dark bronze. Both are beautiful in its own right.

What’s different here is the coupling, you get Vivaldis Dixit Dominus here. I’ve previously stated that I’m not a particular fan of the Red Priest, but this is one of the works that is certainly nice having in your catalogue.

Overall: Highly Recommended.

Bach / Vivaldi: Magnificat & Concerti – Jordi Savall – Le Concert des Nations 

Bach Vivaldi Magnificat Concerti Jordi Savall PIerre Hantai Le Concert des Nations La Capella Reial de Catalunya AliaVox 2014 24 / 88

This is the “oldest” of the three recordings, but still pretty recent, as released in 2014.

I absolutely had to include it here, as I just noticed my entire blog in spite of its 2,5 years of existence hasn’t mentioned one of the grand masters of early music yet, the brilliant Jordi Savall.

Jordi Savall, with his trusted ensembles of La Capella Reial and Le Concert Des Nations, is a legend in early music performance. If you don’t know him yet go and discover some of his many outstanding releases.

Interestingly enough, baroque music is already relatively “late” for Savall who focused quite a bit on the pre-baroque era.

But here he shines, particularly in the Magnificat. Comparing to the two version above, this is the most “balanced” approach, mixing the brilliance of the Dunedin´s with the more intimate performance of Vox Luminis.

Very interesting here are the fillers. Again, no fan of Vivaldi, but both the concerto for two violins and Vivaldi´s own Magnificat are quite pleasing. Nothing I´d go out to buy personally.

But the moment we move from Italy to Germany, this album really becomes outstanding. As mentioned, Bach´s Magnificat is close to perfect, And then you get a very surprising filler again, with Bach, with his keyboard concerto BWV 1052.

And who is the soloist, if no other then my beloved Pierre Hantai (see also here and here). I must admit I’m still looking for my perfect version of the Bach keyboard concertos. This one won’t be my reference as Hantai has the occasional quirk (he certainly is a character) that I don’t necessarily always appreciate, but one thing is for sure, you won’t regret having this version in your library. I keep coming back to it all the time.

Summary

There really is not a winner here. Check all of them out, look at which filling material you prefer, no matter what you choose, you’ll make a good choice. The Dunedin may have a slight advantage from an audiophile perspective, but all three recordings are of very high audio quality and are available as high-res recordings, so you really have the beauty of choice here.

My rating for all three albums: 5 stars

 

 

Olga Scheps Plays Eric Satie – Delicate and Exquisite (A Review)

Eric Satie

You’d think after more than 200 posts I should have covered every major classical composer. And for the major ones this is probably true.

But there are still composers out there that I haven’t written about, including Eric Satie.

While his name may not be exactly a household item, he has written piano music that is often much better known than the composer himself, as they’ve been used in movies and on television all over the place.

His most famous pieces include the Gymnopédies and Gnossiennes. Most recently, you may have heard him in the soundtracks of TV series Mr. Robot or Dr. Who, but the list  at IMDB counts 185 entries. Satie has even been covered in Jazz, see for example on Paolo Fresu´s Mare Nostrum II or on Enrico Pieranunzi´s recent album Menage à trois. 

How did it I get to this blog post? Well, it was triggered by a discussion with my mother-in-law, who is at least as passionate about music as I am. She said “Have you written about Satie yet?” I answered that I hadn’t yet, but mainly because I still hadn’t found my “perfect” version.

Satie is not that often recorded. For years, you’d find a handful of classical recordings, typically by French pianists, like Aldo Ciccolini (ok he’s originally from Italy), or Pascal Rogé.

I hadn’t checked out new Satie recordings in quite a while. Turns out that was a mistake, he’s been recorded quite a bit in recent years. Steffen Schleiermacher released several volumes of his music on Dabringhaus und Grimm in 2012, Alexandre Thauraud published an album in 2014, and most recently, Russian/German pianist Olga Scheps has released an album on RCA Red Seal.

Olga Scheps – Satie (RCA Red Seal 2016)

Olga Scheps Satie RCA Red Seal 2016 24/88

In said discussion with my mother in law, we checked out several of these recent recordings. Initially I was relatively quick to dismiss Scheps´recording, based on simply on how she played Gnossienne No. 1.

Said Gnossienne has “lent” in the title, and I didn’t feel like Scheps was taking this work particularly slow. Indeed, her 3:07 are among the fastest out there, compared to Alexandre Tharaud at 3:34 or even more extreme Jean-Yves Thibaudet at 4:33. But actually, as sometimes I tend to be, my judgment was a bit too fast.

First of all, the legendary Ciccolini is even faster with 3:03, and actually, speed isn’t everything here. Turns out that Scheps really puts a lot of nuances into her Satie. A lot of details are highlighted, but in a fully natural way without ever sounding too “educational”.

Scheps, who being born in Russia, grew up in Germany, and now lives in Cologne, is probably better known for her very nice recording of Tchaikovsky´s 1st piano concerto than for these relatively “simple” pieces.

But you really need to check out this album, it reveals all the beauty there is in these little miniatures. This is not the “elevator music” as the composer sometimes called his own work (“musique d’ameublement”), this album requires you to sit down and take the time to absorb.

My rating: 4 stars

 

You can find it here (Qobuz) and here (HDtracks)

Brahms 2nd with Paavo Järvi and the Kammerphilharmonie Bremen – Outstanding!

Brahms

Did I mention I like Brahms? Well to be fair, the subtitle of my blog kind of gives it away.

These are good times for lovers of Brahms symphonies. Only recently Andris Nelsons has released his fantastic cycle of the 4 symphonies with the Boston Symphony Orchestra (see my 5 star review here), now finally Paavo Järvi starts his Brahms cycle with the Kammerphilharmonie Bremen as well.

Paavo Järvi

I really liked his Beethoven cycle with the same orchestra, actually it is among my current references. His Schumann is also great. So obviously I had high hopes for his Brahms.

And I’m not disappointed.

Brahms Symphony No. 2 – Paavo Järvi – Kammerphilharmonie Bremen (RCA 2017)

Brahms Symphony No. 2 Tragic Overture Academic Festival Overture Deutsche Kammerphilharmonie Bremen RCA 2017 SACD

The 2nd symphony is not my favorite of the four. 1 and 4 are outstanding, 3 is great, and 2 is just nice in my personal classification. Many have described the 2nd as Brahms “Pastorale“. Obviously, there is more to it, but a certain influence in the peaceful moments cannot be completely discarded. That said, , as the booklet also nicely explains, Brahms himself called the work “melancholic” and “sad” and even had the score printed with a black border.

How does Järvi deal with the symphony? The Kammerphilharmonie Bremen, as the name indicates, is a chamber orchestra, so you’d expect a slimmer sound than e.g. with the Berlin Philharmonic.

But don’t expect this to sound like a HIP baroque orchestra, you still get the full color of  a symphony orchestra, maybe just not as cinemascope as e.g. the latest Rattle cycle or Nelsons with the BSO. There have been some interesting adaptations, e.g the drums are having goat skin giving them a very particular sound.

Overall, it is very balanced, and nuanced. You get plenty of romanticism though, after all this is Brahms we are talking about. I particularly like the end of the 2nd movement, where

As a “filler”, you get the Tragic Overture and Academic Festival Overture. Both are nice to have, but nothing I´d listen to on a regular basis. There is too much outstanding music elsewhere.

Overall this is one of the best Brahms 2 currently on the market.

My rating: 5 stars

You can find it here (Qobuz) or on many other streaming sites.

If you prefer the original SACD, it is unfortunately very pricey (only found it for $40-60, what’s going on here?)

 

A new Trout Quartet recording with Daniil Trifonov and Anne Sophie Mutter – Very Enjoyable

Two superstars and prodigies

Anne-Sophie Mutter, for those of us who are old enough to remember, was a classical music  prodigy. Herbert von Karajan put her on the map when he performed a Mozart violin concerto with her in 1977, when she was 13. Anne-Sophie Mutter was a major star for the Deutsche Grammphon label in the 1980s and 90s.

I must admit I never very much liked her early recordings, to my ears they suffered from the same problem as Karajan´s late work on DG, just too much of everything. However, in recent years, Mutter style has evolved significantly, and her recent recordings, e.g. her 2013 recording of the Dvorak concerto with the Berlin Philharmonic, or her 2008 recording of the Bach violin concertos with the Trondheim Soloists show a very different Anne-Sophie Mutter.

Daniil Trifonov (born in 1991) started a tiny bit later, winning third price in the Chopin competition in 2010, and winning some major competitions one year later. Since then, he has released some fantastic albums, e.g. his great Rachmaninov album in 2015, or his recent Liszt Transcedental Etudes, all justify that he was named “Artist of the year” by Gramophone in 2016. Deutsche Grammophon (or whatever is left of it within the big Universal Music Group conglomerate) clearly still has a good taste in selecting musicians.

Schubert: Forellenquintett – Anne-Sophie Mutter – Daniel Trifonov (Deutsche Grammophon 2017)

Schubert: Trout Quintet / Forellenquartett Anne-Sophie Mutter Daniil Trifoniv 24/96 Deutsche Grammophon 2017

I’ve written quite a bit how much I love Schubert´s Chamber music (see here and here for my favorite versions of the string quintet, or an article here about the Rosamunde quartet), but so far I’ve never mentioned the Forellen or Trout piano quintet.

I really don’t know why, but somehow this work never ranked as highly in my personal scale as the pure string chamber works. Silly, I know, it is truly beautiful.

Before we go into the album itself, who else do we have here beyond our two super stars? I must admit I had never heard the names of Hwayoon Lee (viola), Maximilian Hornung (cello), and Roman Patkoló (double bass) before. And even the booklet of the album doesn’t bother to give any more information about them. After some googling it turns out all of them are young musicians that Hornung and Lee both are being developed by Anne-Sophie Mutters Young Talent foundation. Patkoló himself is currently a professor in Basle and has played with Mutter beforehand.

So what do we get here?

This album is the result of a live recording in Baden-Baden in June 2017. And you really feel the energy of a live event. There is passion, drive, and pleasure in every single movement of the Trout. Sometimes, when you have musicians that are not playing in a regular ensemble do chamber music, there is a risk of the music not being fully coherent.

This is not the case here, while Mutter and Trifonov are clearly the stars, all of the instruments merge smoothly in this adventure.

On top of the Trout, you get the Notturno for piano, violin, and cello D897, one of my absolute favorite Schubert works, and some song adaptations for violin and piano, including the famous Schwanengesang.

The only thing I´d have to criticize is that sometimes Mutter (and to some extent also Trifonov) seem to fall back into what I didn’t like about the early recordings, i.e. a bit too much of everything, a bit too much drama and vibrato, where I´d personally prefer even more intimacy (e.g. in the Notturno).

But overall, this is a very enjoyable album.

My rating: 4 stars

You can find it here (Qobuz) and here (HDtracks)

Musicophile’s Top 10 Chopin Albums

This list was triggered by a very interesting thread on a discussion forum I participate in, on Computer Audiophile. The thread is called “My Essential Classical Albums” by a forum participant called Sphinxsix.

The entire thread is very much worth checking out, I found a lot of recommendations on there already.

But with this specific question regarding Chopin, I noticed that I already pretty much had all the recordings I recommended covered on my blog. So in part, this is also a “best of list” of my Chopin blog posts. But there are also quite a number of albums I haven’t featured yet.

For those albums previously covered, you will find links in the entries below to the original blog posts. In the original blog posts, you’ll also find their respective download links.

1. The Nocturnes – Moravec

Ivan Moravec Chopin Nocturnes

To me, the Nocturnes are the quintessential Chopin, even more than the Preludes or the Etudes. And when we talk Nocturnes, the legendary Ivan Moravec version really is unbeatable. It is not by coincidence that I’ve ranked Moravec in my in My Top 10 Favorite Classical Pianists for this album alone. I’ve also mentioned this Album in My 25 Essential Classical Music album, as it is so important to me.

2. The Preludes – Blechacz

Chopin Complete The Preludes Rafal Blechacz Deutsche Grammophon

Right after the Nocturnes, the Preludes are my favorite Chopin, both op. 10 and 25 are oustanding achievements. Here again I could have listed dozens of recordings, but for a Top10 list I’d really like to restrict myself to the young Polish pianists Rafal Blechacz, who recorded this as one of his first albums on Deutsche Grammophon after winning the Warsaw Chopin competition. Another “triple winner”, as he also shows up in My Top 10 Classical Pianists and My 25 Essential Classical Music albums with this recording.

3. The Scherzos – Grosvenor

Benjamin Grosvenor Chopin Liszt Ravel Decca 2011

Some readers may be suprised that I rank these so high, but these little gems are very close to my heart. Completely different, each one of them is a world on its own.

Here, my favorite version comes from the young British pianist Benjamin Grosvenor.

Grosvenor is also a part of my Top 10 Favorite Classical pianists.

4. Piano Concertos – Krystian Zimerman

Chopin Piano Concertos No. 1 & 2 Krystian Zimerman Polish Festival Orchestra Deutsche Grammophon 1999

The legendary Polish pianist Krystian Zimerman, himself also winner of the famous Chopin competition, has recorded the concertos twice. Once with the LA Philharmonic under Giulini in the late 1980s. Knowing that Zimerman is one of the most perfectionist pianists out there, if he records something twice, you can be sure, he does it for a reason.

This second recording from 1999 with a hand-picked “Polish Festival Orchestra”, and while the Giulini recording is already excellent, this one really is a true benchmark.

A must have.

My rating: 5 stars

5. Ballades / Barcarolle – Krystian Zimerman

Chopin 4 Balladen Barcarolle Fantasie Krystian Zimerman Deutsche Grammophon 1988

Zimerman (also one of my Top 10 Favorite Classical pianists) is also my recording of choice for the Ballades.

I’ve had the pleasure of hearing Zimerman perform some of these live, including the beautiful Barcarolle that you’ll also find on this outstanding 1988 album. Don’t miss it.

My rating: 5 stars

6. Etudes – Pollini

Chopin Etudes Maurizio Pollini Deutsche Grammophon

A Chopin list without Maurizio Pollini wouldn’t be complete. I could have easily mentioned him for the Preludes, and several of his other Chopin recordings are legendary. He, like Blechacz, Zimerman above and Argerich below, is also a winner of the Warsaw piano competition (Not that this competition is held only every 5 years, winning it is truly a big deal).

The Etudes are technically extremely challenging. Apparently even a true master like Pollini needed cuts in recording (hundreds of them if you believe some reports). In spite of this piecemeal type recording, the result is just fantastic, and can be described with only one word: fantastic.

Perahia would have been a nice alternative, but Pollini really remains the reference.

My rating: 5 stars

7. Argerich Legendary Chopin

Martha Argerich The Legendary 1965 Chopin Recording Emi

Marta Argerich won the Chopin Competion 5 years after Pollini.

This was one of her first recordings. You will never hear Chopin’s sonata no. 3 played more passionately. Argerich (another member of my Top 10 Favorite Classical Pianists) is in a way the complete opposite of Pollini. Pollini is typically the perfectionist, rational architect, and Argerich is known for her energy and fire. Check out her recording of the piano concertos for another example of her extraordinary talent.

My rating: 4 stars

8. Cello Sonata – Argerich / Rostropovich

Chopin Cello sonata op. 65 Polonaise op. 3 Schumann Adagio & Allegro op. 70 Mstislav Rostropovich Martha Argerich Deutsche Grammophon

Chopin really isn’t well known for his chamber music. So I must admit that until recently I only knew one recording of this, by Sol Gabetta. In preparation of this blog post I checked out several versions, and end up again with the great Martha Argerich, joined here by the cello giant, Mstislav Rostropovich.

My rating: 4 stars (excellent playing, but the music is not as essential as the piano pieces)

9. Mazurkas – Rubinstein

No Chopin list can be complete without the name that is most closely associated with this composer: Artur Rubinstein.

This recommendation is following up to a recommendation in the forum thread that I should check out his earlier recordings. I ended up liking this version most:

Great Pianists Rubinstein Frederic Chopin Mazurkas 1938-1939 Naxos

Yes, it truly is a historic pre-war recording, but the playing really makes up for it. I usually didn’t care so much about these little dances, but Rubinstein really gives these little pieces such a very special meaning, it is a pleasure to listen to.

My rating: 4 stars

10. The Complete Chopin Edition on Deutsche Grammophon

Deutsche Grammophon Complete Chopin Edition 2009

I typically don’t recommend box sets. Even the better ones are typically hit and miss, as they are typically just “recycling” of older catalog material.

But you probably have noticed the large number of yellow covers above, and DG really did a great job on this 17 CD box.

You’ll get the Zimerman piano concertos in the Polish Festival version, the Ballades again by Zimerman, the Pollini etudes, and the Nocturnes by Maria João Pires (my second favorite after Moravec), the Preludes by Blechacz, and the Cello Sonata by Argerich

In a way, you could think that for this blog post pretty much all I did was copy this box set. Well, actually no, I got all of these albums individually over many years (and also I’m not getting any incentive from DG here). But I’m truly impressed by the selection that DG did here (having all this in their archives obviously helped).

On top, you’ll also get the Mazurkas and Valses well played by Vladimir Ashkenazy, some individual pieces with Anatol Ugorsky, the Scherzos by Pollini again, and the piano sonatas by Lilya Zilberstein and Pollini again.

So if you want to kick-off your Chopin journey, this box really is all you need for a start with truly outstanding recordings.

My rating: 5 stars

 

You can find the recordings either in the respective original blog post or here:

Concertos / Zimerman: here (Qobuz) and here (Prestoclassical) (note that Presto has a special offer on Zimerman recordings until the end of 2017)

Ballades / Zimerman: here (Qobuz) and here (Prestoclassical)

Etudes / Pollini: here (Qobuz) and here (Prestoclassical)

Argerich Legendary 1965 recording: here (Qobuz) and here (Prestoclassical)

Argerich Rostropovich Cello Sonatas: here (Qobuz) and here (Prestoclassical)

Chopin Mazurkas Rubinstein here (Qobuz) and here (Prestoclassical)

The Complete Chopin Edition here (Qobuz) and here (Prestoclassical)

A Truly Moving Performance of Brahms Requiem by Yannick-Nezet Séguin and the Berlin Philharmonic: My Review

Serendipity

Who would have thought that I end up back at the Berlin Philharmonie so soon after the last concert by Simon Rattle just some days ago? Certainly not me.

This was really pure coincidence. I happened to stroll by the Berlin Philharmonic hall purely by chance. Suddenly, a guy approaches me, and asks “Would you want a ticket for the concert? Brahms, right now?” Well, who can say no to that? So 5 min later I find myself sitting in the Berlin Philharmonic hall watching as the BPO and the Rundfunkchor Berlin reassemble (I only got there during the break).

Ein Deutsches Requiem

I haven’t written that much about requiems yet on my blog. I have a certain respect for this category of music, as I always remember it is written for a very serious occasion, the death of a loved one. Maybe because of this I don’t listen to requiems enough.

I’ve previously mentioned Mozart´s requiem on my blog as part of My Must-have Mozart Albums. The other requiems I really love are Fauré’s (this really would need its own blog post), and obviously Brahms’.

Brahms German Requiem is a particular in many ways. First of all, it was written under very personal circumstances, around the death of Brahms own mother. Second, given Brahms´protestant background (he’s from Hamburg), he doesn’t use the traditional latin text of the catholic requiem, but instead parts of the Bible that are of personal importance to him. These are sung in German, hence the name.

Yannick Nézet Séguin – Berlin Philharmonic Orchestra – Rundfunkchor Berlin – Hanna-Elisabeth Müller – Markus Werba

I was indeed very lucky last night. Not only I get to see again the BPO, one of the best orchestras in the world, but also finally get to see Yannick Nézet-Séguin live.

I’ve written a lot about his recordings, from his Cosi Fan Tutte to his FigaroMost recently I did a more ambivalent review of his Mendelssohn symphony box. But taken together, he is one of the most relevant conductors of the 21st century.

Yannick Nézet-Séguinm, The Berlin Philharmonic Orchestra, and the Rundfunkchor Berlin, Brahms German Requiem Oct 19, 2017
Yannick Nézet-Séguinm, The Berlin Philharmonic Orchestra, and the Rundfunkchor Berlin

Given his previous recordings, I expected this concert to be a relatively fast and lean performance. Well, from the first measure I was proven wrong. This was BPO beauty in full blast, with relatively slow tempo throughout.

Actually, I’m glad he did. Given the nature of this work, the grandiose and emotionally charged way Nézet-Séguin conducted this just worked out perfectly.

A word about the soloists: they don’t really have such an important role in this work (maybe with the exception of the central soprano solo Ihr habt nun Traurigkeit), and overall the soloists did an good job, but were not the most memorable parts of the evening. The audience seems to think the same: they got decent applause, but nothing out of the the ordinary.

The true star of the evening was the Rundfunkchor Berlin, under Gijs Leenaars.  Their performance was just amazing. Not surprisingly, they received standing ovations at the end. Well deserved

Yannick Nezet Seguin Berlin Philharmonic Orchestra Brahms Ein Deutsches Requiem Oct 19 2017
The BPO hall organ was a major player in the performance

 

The highlight of the evening for me was the second movement, Und alles Fleisch, es ist wie Gras.  The combined power of the BPO, the powerful BPO hall organ, and the 80+ voices power (but also nuances) of the choir made this a performance I will never forget.

Truly outstanding.

My rating: 5 star

P.S. If you want to see it yourself, and are not in Berlin (note that there are some tickets left for tonight Oct 20 and tomorrow Oct 21), you can also see the Saturday performance streamed live in the Digital Concert Hall.

 

The Cunning Little Vixen – Janáček´s enchanting opera with Rattle´s Berlin Philharmonic

Leoš Janáček

In spite of the fact that I don’t write about them very often, I do very much like Czech composers. I just checked: so far two entries on Dvorak (none of them dedicated to him), another short mention of Martinu as part of a concert review. No entries for Smetana, same for Janacek.

Why is that? I really don’t know. Janacek in a way really flew under my radar screen. I had a couple of his string quartets which I liked, but not much beyond this.

So how do I end up seeing an opera he wrote?

Very simply: I was in Berlin, hadn’t been to see the Berlin Philharmonic for a while, and was able to spontaneously secure last minute tickets. Typically, the BPO with Rattle is booked out, prohibiting spontaneous trips to the amazing Sharoun concert hall.

Luckily, like me, the Berlin audience wasn’t familiar with this opera (original title: Příhody lišky Bystroušky) by Janacek at all.

I’m very glad I went, it was a fantastic evening.

The Cunning Little Vixen – Simon Rattle – Berlin Philharmonic – October 12, 2017

To be fair, my curiosity was helped by the fact that there were some amazing lead singers, with Gerald Finley and Lucy Crowe in the main roles, of Forester and Vixen respectively.

Furthermore, the always interesting Peter Sellars was responsible for the staging of the play, which was performaned not at one of Berlin many opera houses, but instead the traditional Berlin Philharmonic concert hall.

The opera itself has been only very rarely performed, you will find only a handful of recordings on your regular streaming service.

I hope this new performance will make it onto a formal recording, but I´ll make sure to check out the Digital Concert Hall of the Berlin philharmonic, where I hope this recording appears soon.

 

Berlin Philharmonic - Simon Rattle - Janacek - Cunning Little Vixen
Rattle during the opening of Janacek´s Cunning Little Vixen

 

The Berlin philharmonic and Rattle really shined, this outstanding music, that changes from sentimental to funny to very introvert by the minute.

The story (sung in Czech, but translated in real time on the displays) is full of double double-entendres and little nuances, and really goes beyond the animal fairy tale nature one could immediately expect looking at the title.

 

IMG_5484
Gerald Finley, Lucy Crowe, and Paulina Malefane

 

As mentioned above, Finley and Crowe were outstanding soloists, but the remaining cast was also very good, only some of the choirs and children roles were not fully up to the same standards, but this didn’t hurt the overall impact.

Peter Sellars didn’t have a lot to work with, there was basically one small stage with only the occasional table and chairs added, and large LCD screens with videos to illustrate the scenery (from a creek in the woods to moving images of chicken).

Sellars also used the entire space, with the chorus occasional singing from above you, and with some of the lead singers freely roaming the entire building.

 

Petter Sellars staging of the Cunning Little Vixen, Berlin Philharmonic
Peter Sllars creative use of space: note the choir on the upper balcony

 

The Berlin public in the nearly sold out hall was as enchanted and enthusiastic as I was, we got more than 10 minutes of standing ovations and cheering.

 

Berlin Philharmonic, Cunning Little Vixen, Janacek, Rattle
An enthusiastic Berlin audience after the performance

A truly memorable evening.

My rating: 5 stars