カテゴリ:music( 36 )

Sudbin Concert

今日はYevgeny Sudbinのピアノコンサート。演目は...

Joseph Haydn: Sonata in B minor, Hob.XVI/32
Ludwig Van Beethoven: 6 Bagatelles, Op.126

インターバルをはさんで

Alexander Scriabin: Sonata No.5 in F sharp, Op.53
Alexander Scriabin: Mazurka in E minor, Op.25 No.3
Alexander Scriabin: Sonata No.9 in F, Op.68 (Black Mass)
Camille Saint-Saëns: Danse macabre arr. Sudbin for piano (based on Liszt/Horowitz transcriptions)

以下は会場であるSouthbankのウェブサイトからの引用。

Yevgeny Sudbin has been dubbed a 'wonder pianist' by The Times.

He offers an exciting programme built around musical links between composers.

The young Russian star begins with an expressive sonata by Haydn, followed by the startling late Bagatelles Op.126 by his pupil, Beethoven.

2015 is the hundredth anniversary of the death of Scriabin and Yevgeny Sudbin has long been fascinated by his music. Tonight he presents three masterpieces by this original and colourful composer including the legendary 'Black Mass'.

Finally Sudbin presents his own adaptation of another demonic work, Saint-Saëns's Danse macabre, based on virtuoso transcriptions by Liszt and Horowitz.


DEMONIC...、最後のBlack Massはとても楽しみ。
[PR]
by uk_alien | 2015-05-14 01:09 | music
最近はオペラ鑑賞に関しては私も丸くなって、まあまあの舞台でも「うん、楽しんだ」と言えるようにった。

奇妙なセットはさておき、いまひとつしっくりこないKaufmanに首を傾げさせられたManon Lescautでさえ「ま、いっか」と思え、I due FoscariではDomingoの演技力と舞台上での存在感(のみ)に焦点をあて、好き嫌いの分かれたIdomeneoでさえ(後半をしっかり観てから)観に来てよかったと思えた。

そんなんでこんなんで「大人になり視野の広がった私」をひきつれて先日再びロイヤルオペラハウスへ出向いた。Un Ballo In Mascheraの初日公演だ。

Overtureが美しく奏でられ、コーラスが入る。(ちなみに私はTwitter上で過酷に批判された指揮者Daniel Orenに罪はないと確信する。無難でも美しく演奏されたオーケストラは罪ではない。)オペラハウスのアコースティックにうっとりしながら、楽しみにしていたJoseph Callejaのソロが入って耳と目を疑った。な、なんてつまらないんだろう。ドラマが、ない。この人こんなに演技が出来なかったっけ?

嫌な予感が走った。このまま3時間半この生焼け状態の舞台が続くのかと思うと気が重くなった。追い討ちをかけるように年季入りのでくのぼうHvorostovskyが加わってつまらなさは倍増した。真剣につまらない。Liudmila MonastyrskaがAmeliaという役柄に全くそぐわないパワーで歌い上げる。Brava!... but for what?(ちなみに、この3人の歌唱力はずば抜けて優れている。)

オペラというのは本当に面白い。どんなにスターを集めてもだめなときはだめなものだ。ドラマを「より」効果的に語るための究極のアートフォーム上でドラマを語ることができなければ全く意味がない。そういう点ではOscarを演じたSerena Gamberoniの存在感が光った。役(演技と歌唱)に全力が注がれているのがひしひしと伝わってくる。結局はcheesyでもこの'full on'という力が大事なのかもしれない。(先月のL'Elisir d'AmoreでNemorinoを演じたVittorio Grigoloからもそれが感じられた。)歌唱力あっての演技効果だが、演技力がなければドラマはオペラティックに語れない。

I am not angry. I am just disappointed.

2月のAndrea Chénierに期待しよう。
[PR]
by uk_alien | 2014-12-20 20:37 | music

La Fille du Regiment

昨年秋、Juan Diego FlotezがLa Fille du RegimentのTonioを2014年に演じるというので早速予約した。半年後、予定日の数日前にネットで「舞台を無事終えてなにより」という彼のコメントを目にする。げ、と思ってチェックすると確かに配役が代わっている。一瞬予約に際しての自分の不注意に腹を立てたが、これも何かの機会だと気持ちを切り替え、あまり期待せずにオペラへと出向いた。

このプロダクションはDVDで何度も観ていたのだが、生の舞台は本当にみがいがあり、それだけでも出向いた甲斐があったと思った。

たるいovertureで一瞬冷や汗を感じさせたオーケストラは舞台が進むにつれペースをピックアップし胸をなでおろす。Tonioを演じたFrédéric AntounのHigh C'sはやや痛々しい感があり、演技はコメディタッチにやや欠けていたように思えたがそれでも満足のいくパフォーマンスで、Marie役を「無難」レベルで演じたPatrizia Ciofiとそういう意味ではバランスがとれ、観客としてはプロダクション全体をリラックスして楽しめた夜だった。

ここのところ、「うわぁ壮絶だなこれは」という舞台に出くわしてないものの、 Les Vêpres Siciliennes、Tulandot、そしてLa Fille du Regimentと、結構期待せずに気楽に出向いて逆に楽しめたというパターンが続いている。いいのか悪いのか。
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by uk_alien | 2014-03-23 06:36 | music

Turandot at ROH

昨日は久しぶりに観劇。郊外の職場から速攻で帰宅、ロイヤルオペラハウスでのTurandot。プロット自体とプッチーニのメロドラマすぎる音楽はさておき、とてもまとまった舞台とオーケストラの美しい演奏だった。

今日は金曜日。

大嫌いな電車通勤にもだんだん慣れてきた。新しい職場の中には無料のNuffieldジムがあるので昼休みを利用して短時間の運動をすることにしたら午後のエネルギーも上がった。

今日頑張れば週末だ。皆さんHave a lovely weekend!
[PR]
by uk_alien | 2014-02-21 07:48 | music

Mariinsky's Lucia di Lammermoor

When the reviews are not complimentary, it's better to believe them rather than spending an arm and a leg and thinking you will be the judge. Chances are that your judgment will be in agreement with them after all.

I bought the Mariinsky version of 'Lucia di Lammermoor' SACD with Natalie Dessay today. £25 at ROH shop out of whim, not from Amazon because it was meant to be a spontanious Friday night treat.

It is well orchestrated all through, but to my taste, it was pretty boring lacking a sense of space and drama. Together with singers, it felt incongruent and the story didn't get told even with Natalie. It sounded like a sleepy ballet rather than an epic opera.

I should have listened what others have said. Damn. The only good thing about it is the recording is indeed terrific, which has also been mentioned in reviews. Damn. Yes, the recording with Southerland is much better as THEY say. Damn.
[PR]
by uk_alien | 2013-02-15 21:42 | music
When you book concert tickets for a new season way in advance, the trick not to waste your tickets (i.e. to make sure you shift your ass no matter what) is to book the most expensive seat at rare events and pay from your own pocket.

It worked for me last night.

Exhausted, buggy, still lots to do in the flat, the last thing I wanted was to go to an opera, and it was Wagner to make it worse.

I was totally ready to give up on it at four thirty in the afternoon and checked my ticket to see how much I paid for it. It was after all an opera 'concert' without the stage set or costumes, so it couldn't have been that expensive.

The ticket indifferently but clearly indicated that a year ago I was so excited about the prospect of seeing Bryn Terfel performing right in front of me that I didn't mind shedding a hefty sum of ninety-six pounds out of my own pocket for the night. Right. I must go. After all this was my very first experience to be able to walk to such a concert from home, which was part of the reason why we moved in the first place.

How was the opera?

Absolutely mind blowing from the start till the end. The orchestra was pretty good and the conducting really beautiful if not a tad less punchy (I personally liked the understated drama from the orchestra as I felt it gave more space to actors to express the drama from their side).

Terfel's tequniques were artful and top-notch. He didn't need a set or a costume on the stage as he could show us all any way through his performance. It was magical.

Kampe's Senta was dramatic and convincing and Salminen's bass sturdy and fruid spiced with his brilliant comical acting.

I didn't buy a programme so I don't know the name of the person who played Erik but his acting was heart-felt and very good, too.

The opera ended with 20 min over-run and with a slight regret on the very satisfied audience side not being able to express their admiration long enough by continuing with stading ovation so as not to miss their trains.

We were fully entertained all through the evening.

Der fliegende Holländer
Zurich Opera Orchestra
Alain Altinoglu - conductor
Bryn Terfel - The Dutchman
Anja Kampe - Senta
Matti Salminen - Daland
Zurich Opera Chorus
[PR]
by uk_alien | 2012-12-16 09:49 | music

Renee Fleming at Barbican

A year ago I wasn't really thinking of moving just yet so I booked a couple of very good seats for us for Renee Fleming's concert for today at Barbican.

Not having finished with packing or cleaning (and this weekend being the last before the move) we still went out nevertheless and we are extremely pleased that we did so.

The concert was absolutely enjoyable and at times her performance was so emotive and touching leaving the audience in awe of the drama.

Despite suffering from a severe headache on top of the fatigue, I felt my soul exclaiming with joy having been well-fed with the serene beauty of the music.
[PR]
by uk_alien | 2012-12-09 21:31 | music
I often become overwhelmed by the experience whose quality is so rich and tactile that I truly wish if only I had knowledge and words to express my sensation with satisfactory eloquence.

Simon Rattle’s concert with Vienna Philharmonic at Barbican was as such. Admitted that I was not familiar with any of the pieces played, I found the orchestration beautifully conducted with incredible balance.

At the same time, however, I often felt it was 'aptly managed' rather than mind-blowing. This is where knowledge on the music as well as the characteristics of the parties involved would have helped me to understand how so.

On the whole, I can declare that, with my limited experience admitted, this was the best orchestration I have heard in the flesh and indulged my auditory sense with tremendous pleasure.

Having read some reviews, I was most interested in and in agreement with this review by Andrew Clark at FT, although I thought 3 stars does not quite justify the night’s collaboration of those who are extremely talented.
[PR]
by uk_alien | 2012-06-23 17:19 | music

Opera on Demand

今週一週間は身体を休めるために休暇をとり、家と庭をゆっくり楽しむことにした。

イギリスの6月に良い天気を望むのは無謀、天気なんかどうでもいいんだ...といったものの、まさかこんなに酷い天気だとは思わなかった。

New York Met OperaのMet Opera on Demandでアカウントを作ると一週間無料でオンラインストリームを楽しむことができると知り、オペラ鑑賞には絶好の天気(泣)、ということでサインアップしていくつかのオペラを鑑賞した。

以前にこのブログでも書いたけれど、私はNatalie Dessayというソプラノ歌手がとても好きで、昨年の彼女のLucia di LammermoorはこのHD on demandサービスで観ることができる。

同じプロダクションでLuciaを演じるAnna Netrebkoと比べるとDessayは歌唱力と優雅さという点でやや劣る感がある。しかし、完成度が高く美しい狂気を漂わせるNetrebkoより、胸に突き刺さる悲痛を観客側の心に植え込んで忘れさせないDessayの演技と歌声が私は好きだ。

狂気のシーンでDessay演じるLuciaが血まみれのウェディングドレスでAct IでのEdgardoとのデュエットのメロディー(Ah! Verranno a te sull'aure)の一部を繰り返しながらゆっくりターンする場面では、毎回しっかり泣ける。

さて、今日はホリデー締めくくりということで、一年前に予約しておいたSimon Rattle指揮、Wienner Philharmoniker演奏のコンサートに出かける予定。演目は

Brahms Symphony No 3
Webern Six Pieces for Orchestra
Schumann Symphony No 3, 'Rhenish'

楽しみだ。
[PR]
by uk_alien | 2012-06-17 20:22 | music

Benjamin Grosvenor

Benjamin GrosvenorがGreigのPiano Concertoを演奏するというのでBarbicanまで足を運んだ。

今回の演奏は完璧ではなかったにせよ、もうすぐ20歳を迎えるこの青年の透明感にあふれた演奏は相変わらずとても魅力的で琴線に触れる。

演奏後、Critics' Circleから2012 Award for Exceptional Young Talentを授与された彼は、観客の拍手に答えてRachmaninoffのPolka De W.R. Allegrettoをアンコール演奏。うーん、よい。


(写真はcriticscircle.org.ukから転載 - アートクリティークなら携帯じゃなくっても少しましなカメラでぶれない写真を撮れないものかな?)

魔法にかけられたような気分を損なうにはあまりに惜しいと考えIntervalでホールに出た旦那と私はここで家路につくことにした。

うーん、よい。
[PR]
by uk_alien | 2012-06-14 23:00 | music