私が全く知らなかったことですが,何人ものdirectors がいて,その通りにやっていれば済むオペラよりも, たった1人で自分勝手に歌って,それもオペラ曲の場合,なんらかの身振りをしなければならないソング・リサイタルは,オペラ歌手にはとかく苦手なのだそうです.
現実に,有名なオペラ歌手 Anna Netrebko は,今年予定されたいたNew York リサイタルをこれで5年間で2度目になるキャンセルしてしまったそうです.
This fall Anna Netrebko seemed intimidated enough by the prospect of her New York recital debut to cancel it for the second time in five years.
そこで The New York Times の Music Critic, ZACHARY WOOLFE が,2011年を回顧して,6人のリサイタルを挙げています.
私はオペラにはあまり関心がないのですが,6人のなかに,来春早早,東京公演予定のIAN BOSTRIDGE が挙がっていたので,ご紹介します.
なお,BOSTRIDGE の1月10日オペラ・シティでの公演チケットは,会員「得チケ」でほぼ半値で叩き売られていますから,ご関心の方にはお薦めです.
順に挙げますと,
STEPHANIE BLYTHE It was outside her usual repertory, but in February in the Allen Room this mezzo-soprano, singing with nuance and commanding tone and accompanied by Craig Terry, made Kate Smith’s pop standards songbook seem the equal of Schubert and Strauss.
DOROTHEA RöSCHMANN AND DAVID DANIELS Maybe it’s cheating to include this soprano and countertenor’s heartbreakingly elegant concert at Carnegie Hall in April; they sang not songs but Handel opera arias and were joined not by a pianist but by the Juilliard415 period orchestra. Still, this gave me as much pleasure as any performance this year.
SARAH CONNOLLY In April this mezzo-soprano brought her disarmingly natural phrasing and velvety voice to a program of Schumann and British songs at Alice Tully Hall, accompanied by Malcolm Martineau. Best of all were two songs by Ivor Gurney, performed with moving nobility.
JENNIFER JOHNSON CANO Another mezzo-soprano made an exciting New York recital debut in May at Merkin Concert Hall, accompanied by her husband, the pianist Christopher Cano. She radiated honesty and emotion in songs by Porpora, Mahler, Ravel and — fabulously — Dominick Argento (his cycle “From the Diary of Virginia Woolf”). このリサイタルの写真は下に掲載してあります,
IAN BOSTRIDGE At Carnegie last month this English tenor paced, grimaced, growled and soared through a moody, rangy recital that centered on Schumann’s “Dichterliebe, ” alongside the pianist and composer Thomas Adès. It was a riveting performance, vocally and physically unsettled and unsettling, with Mr. Bostridge’s fingerprints left on the Steinway to prove it.
このリサイタルはひどかったようで,喉の状態も身体の状態も苦しかったようです.それはスタインウエイに残されたポストリッジのいくつもの指紋が証明していると書いています.
MARGARET PRICE When this great Welsh soprano died in February, a friend of hers sent me a recording of a concert she gave in Toronto in 1985. It was a long, luminous program offered with great seriousness and great joy. It may be cheating again to say that one of my most memorable recitals of 2011 took place 26 years ago, but it’s the truth.
この有名歌手は2月に亡くなったのですが,彼女の友人から贈られてきた1985年のコンサートCDを聴いて,26年前のリサイタルが,自分には2011年のmost memorable recitals の1つになったと書いています.
Standouts in a Solo Setting
Michelle V. Agins/The New York Times
The mezzo-soprano Jennifer Johnson Cano at Merkin Concert Hall in May, accompanied by her husband, Christopher Cano.
By ZACHARY WOOLFE
Published: December 16, 2011
IT seems that a recital should be a breeze for a singer. Unlike in opera, there are no ill-fitting costumes; there is no awkward directorial concept to pull off. It’s just you, a piano and the music.
But even some of the biggest, best singers struggle with recitals: the exposure, the intimacy, the need to create instant drama in an art song’s three or four minutes. This fall Anna Netrebko seemed intimidated enough by the prospect of her New York recital debut to cancel it for the second time in five years, and
Jonas Kaufmann’s recital at the Metropolitan Opera was genial but distant.
It’s therefore worth celebrating the singers who made engrossing, gorgeous worlds out of just their own formal wear and the barest of supports. These were my favorites among the recitals I took in this year.
STEPHANIE BLYTHE It was outside her usual repertory, but in February in the Allen Room this mezzo-soprano, singing with nuance and commanding tone and accompanied by Craig Terry, made Kate Smith’s pop standards songbook seem the equal of Schubert and Strauss.
DOROTHEA RöSCHMANN AND DAVID DANIELS Maybe it’s cheating to include this soprano and countertenor’s heartbreakingly elegant concert at Carnegie Hall in April; they sang not songs but Handel opera arias and were joined not by a pianist but by the Juilliard415 period orchestra. Still, this gave me as much pleasure as any performance this year.
SARAH CONNOLLY In April this mezzo-soprano brought her disarmingly natural phrasing and velvety voice to a program of Schumann and British songs at Alice Tully Hall, accompanied by Malcolm Martineau. Best of all were two songs by Ivor Gurney, performed with moving nobility.
JENNIFER JOHNSON CANO Another mezzo-soprano made an exciting New York recital debut in May at Merkin Concert Hall, accompanied by her husband, the pianist Christopher Cano. She radiated honesty and emotion in songs by Porpora, Mahler, Ravel and — fabulously — Dominick Argento (his cycle “From the Diary of Virginia Woolf”).
IAN BOSTRIDGE At Carnegie last month this English tenor paced, grimaced, growled and soared through a moody, rangy recital that centered on Schumann’s “Dichterliebe, ” alongside the pianist and composer Thomas Adès. It was a riveting performance, vocally and physically unsettled and unsettling, with Mr. Bostridge’s fingerprints left on the Steinway to prove it.
MARGARET PRICE When this great Welsh soprano died in February, a friend of hers sent me a recording of a concert she gave in Toronto in 1985. It was a long, luminous program offered with great seriousness and great joy. It may be cheating again to say that one of my most memorable recitals of 2011 took place 26 years ago, but it’s the truth.
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