On record: Magdalena Kozená, Christian Gerhaher, LSO / Sir Simon Rattle – Debussy: Pelléas et Mélisande (LSO Live)

Debussy Pelléas et Mélisande

Magdalena KozenáChristian Gerhaher, Gerald Finley, Bernarda FinkFranz-Josef Selig, Joshua BloomElias Madlër, London Symphony Chorus and Orchestra / Sir Simon Rattle

LSO Live LSO0790 (three SACDs and one Blu-ray, 160’46”)
Producer James Mallinson Engineers Jonathan Stokes, James Hutchinson
Dates Live performances at Barbican Hall, London on January 9th and 10th, 2016

Reviewed by Richard Whitehouse

What’s the story?

Sir Simon Rattle and the London Symphony Orchestra release their first opera collaboration on the LSO’s label. Debussy’s Pelléas et Mélisande is a work Rattle has conducted often (including London and Salzburg), and the present account confirms his identity with this most elusive of operas.

What’s the music like?

Premiered in 1902 after a genesis of almost a decade, Pelléas et Mélisande is Debussy’s only completed opera and his treatment of Maurice Maeterlinck’s symbolist drama is a high point of musical impressionism. This recording is derived from two performances at Barbican Hall, shorn of Peter Sellars’ ‘platform staging’ but its partial re-seating of the orchestra evident in numerous instances of balance. The result is to emphasize dramatic extremes, though without necessitating extremes of tempo in what is otherwise a finely integrated reading of real poise.

The cast is a strong one, and such reservations as there are centre on the title-roles. A model of clarity and lucidity, Christian Gerhaher is arguably too self-contained to convey fully the emotional eloquence of a figure whose actions can seem almost involuntary. No less secure technically, Magdalena Kožená is elegant if at times rather generalized in her assumption – rendering the notes with unerring accuracy yet not always conveying the inner radiance of one whose presence should be disconcerting through its very intangibility and equivocation.

Gerald Finley’s is among the finest recorded Golaud – conveying his moroseness and anxiety with palpable conviction though retaining a vital degree of empathy, while Franz-Josef Selig makes of Arkel a nobler and more substantial figure than is too often the case. Bernarda Fink brings warmth and pathos to the (too?) brief role of Geneviève, with Joshua Bloom shining in his cameos as the Doctor and Shepherd, but Elias Mädler is a little too mature in timbre to be ideal for Yniold – his exchanges with Golaud a heart-rending instance of innocence corrupted.

The London Symphony Chorus acquits itself admirably during its brief contribution, with the LSO playing as well as it has done for its new Music Director in terms of fastidiousness and subtlety; climactic peaks thereby feeling the more acute for their rarity. Compared to that of his Royal Opera staging, Rattle’s conducting is freer and less inhibited – touching on a wide expressive range without sacrificing attention to detail. Each of these five acts is shaped with scrupulous regard to the action at hand while being responsive to the emergent overall drama.

Does it all work?

Indeed, for all that Pelléas et Mélisande already has an extensive and impressive discography. Roger Desormière’s 1942 recording (Warner) remains the interpretative benchmark – while, among the more recent accounts, Claudio Abbado (DG), Bernard Haitink (Naïve) and Pierre Boulez’s DVD (DG) all have serious claims on the listener. Presentation over three SACDs and one Blu-ray, with the booklet containing a succinct introduction, synopsis and bilingual libretto, is unexceptionally fine – as also the sound, if with little sense of a tangible acoustic.

Is it recommended?

Yes, though the absence of a visual component on the Blu-ray might be thought something of a missed opportunity. Something LSO Live might like to reconsider before issuing Ligeti’s Le Grand Macabre, the next Rattle/Sellars/LSO project which is due in the coming months.

You can read more about this release at the LSO Live website, or you can listen on Spotify below:

London Symphony Orchestra / François-Xavier Roth: Half-Six Fix – Stravinsky & Debussy

London Symphony OrchestraFrançois-Xavier Roth (above)

Half-Six Fix

Stravinsky Le chant du rossignol (1917)

Debussy La Mer (1903-1905)

Barbican Hall, London; Wednesday 28 March 2018

Written by Ben Hogwood

The London Symphony Orchestra’s new Half-Six Fix initiative went ‘live’ with this Stravinsky / Debussy double header; a concert full of colour and mutual appreciation for two of the 20th century giants.

A more relaxed approach was immediately evident on arrival at the Barbican for the early evening hour of music. Downloading the EnCue app gave audience members a stream of content at their disposal, with comprehensive notes on the two pieces as well as artwork and cues for the performances themselves.

Interestingly during the concert I did not witness anybody using their phone in this way – which in a sense was encouraging, for everyone was in thrall to the performers themselves. The other major disadvantage with reading concert notes on a mobile phone is the distraction of notifications from elsewhere. Surely one of the great advantages of live music is that it takes you to a special place away from everyday life! That said, the resources available do also give the option for reading between pieces, and were of a high quality to make them fully worthwhile.

Our compere for the evening was François-Xavier Roth and he was the ideal host, introducing the pieces with a nice line in respect and humour. The use of musical examples with the orchestra was helpful – flautist Gareth Davies showed off Stravinsky’s Le chant du Rossignol, while it was nice to see glockenspiel and cymbals promoted to the front line so that we could appreciate Debussy’s masterly use of the orchestra in La mer.

The performances were superb. Le chant du Rossignol had rhythmic precision and musical finesse, telling the story of the nightingale and the efforts of its Japanese imitators to emulate its song in vivid, widescreen technicolour. Stravinsky’s inspiration in this piece was revealed to be very close to Petrushka, and Roth conducted a performance that brought the melodies to the front but emphasised some wonderful textures conjured up in the middle foreground. There were visuals, and fleeting glimpses of solos, but it seemed the LSO had not fully decided whether to show the orchestra in full or images derived from the piece, settling for a halfway approach which was fleetingly helpful.

Watching the orchestra was definitely enough – their standard these days is as high as ever, and if anything was even better for La mer. Clearly this is one of Roth’s first loves, and from a seat near to the orchestra you could practically feel the spray as the orchestra dived in.

Tempo choices were on the whole assertive but never at the expense of detail and expression, and when the final swell came in the third movement, Dialogue du vent et de la mer (Dialogue of the wind and the waves).

Roth is an ideal host for this sort of evening, which can be wholeheartedly recommended, a case of quality winning over quantity – and it is pitched at a level where everyone present, from the first time attendee to the hundredth, will learn something new and get a fresh perspective. A great initiative for opening the mind to classical music in a more relaxed setting.

On screen: Barbara Hannigan, London Symphony Orchestra / Sir Simon Rattle – Stravinsky: Rite of Spring; Berg: Wozzeck Fragments; Ligeti: Mysteries of the Macabre (LSO Live)

Webern Six Pieces op.6 (1909/28)
Berg Three Fragments from Wozzeck, op. 7 (1923)
Ligeti arr. Howarth Mysteries of the Macabre (1992)
Stravinsky The Rite of Spring (1913)

Barbara Hannigan (soprano – Berg & Ligeti), London Symphony Orchestra / Sir Simon Rattle

LSO Live LSO3028 [84’58’’] One DVD and one Blu-ray disc

Reviewed by Richard Whitehouse

What’s the story?

Following on from its all-French programme (LSO3038), LSO Live here releases a further concert by the London Symphony Orchestra and Sir Simon Rattle on DVD and Blu-ray – once again a co-production with the digital channel Mezzo and in association with ARTE France.

What’s the music like?

Rattle has long been an advocate of Webern’s Six Pieces and made a fine recording of it in his Birmingham days. This LSO account is notable for its scrupulous attention to dynamics and tonal shading, even if such fastidiousness minimizes any real spontaneity in this elusive music. A case in point is the rather effortful climax to the explosive second piece, while the ‘funeral march’ fourth lacks underlying momentum on the way to its powerful though hardly unnerving culmination. Elsewhere, this music’s subdued introspection is tellingly conveyed.

The Three Fragments which Berg drew from Wozzeck follows on naturally. Focussing on the character of Marie enabled the composer to bring together three of this opera’s highlights for concert use, and Barbara Hannigan brings a probing characterization to the lullaby from Act One then the bible-reading scene from Act Three. She captures the naivety of the child at the close of the third fragment, before which the LSO comes into its own in a powerful while not unduly vehement interlude prior to the final scene – Rattle steering them through unerringly.

Hannigan returns in rather different guise for Mysteries of the Macabre that Elgar Howarth arranged from Ligeti’s opera Le Grand Macabre. This present-day staple of the coloratura repertoire lends itself to all manner of parody and if Hannigan’s juvenile delinquent might be felt inappropriate for a chief of secret police, her vocal contribution is uninhibited in its virtuosity. Rattle and his orchestra enter-into the music’s anarchic accordingly, the former’s joke at the expense of Nigel Farage seeming all too ironic in the light of subsequent events.

Rattle’s association with Stravinsky’s The Rite of Spring goes back to the outset of his career and hearing this account is a reminder of his prowess in music the LSO has itself played many times. Yet for all the consummate technical skill, there is a nagging sense of conductor and orchestra going through the motions to ultimately predictable effect (indeed, the performance from Peter Eötvös with the LSO later that season generated much more genuine excitement and sense of purpose). Easy to admire, there is little here to make one assess this work afresh.

Does it all work?

Absolutely in terms of a programme both cohesive and provocative. Things are more mixed in term of performances – with those of the Berg and (musically at least) the Ligeti as good as one is ever likely to hear, that of the Webern just a little too micro-managed overall and the Stravinsky a reminder that superb playing and expert conducting do not necessarily make for a gripping interpretation.

As an indication of Rattle’s association with the orchestra of which he subsequently became Music Director, there is much here that is enjoyable and engrossing

Is it recommended?

Yes, in terms of a concert to which one might wish to return on repeated occasions. Sound and vision leave little to be desired in either format, though post-production means that there is little sense of the orchestra performing in a tangible acoustic – Barbican Hall or otherwise.

For more information on this release, visit the LSO Live website

London Symphony Orchestra / Sir Simon Rattle – Genesis Suite & Bartók Concerto for Orchestra

Simon Callow, Rodney Earl Clarke, Sara Kestelman, Helen McCrory (narrators), Gerard McBurney (creative director), Mike Tutaj (projection design), London Symphony Chorus and Orchestra / Sir Simon Rattle

Various composers The Genesis Suite (1945)
Bartók Concerto for Orchestra (1943)

Barbican Hall, London; Saturday 13 January 2018

Written by Ben Hogwood

Collaboration in classical music is rare. Pop music is full of it – many of the best songs and albums are co-written – but for composers to work together on a single work is nigh on unthinkable. Full marks, then, to Sir Simon Rattle and the London Symphony Chorus and Orchestra for reminding us of an instance when that did in fact happen – no fewer than SEVEN classical composers coming together in 1945, at the end of World War II, to write the Genesis Suite. The project was held together by Nathanial Shilkret, masterminding the project from Hollywood.

The Suite, of course, has nothing to do with the rock band. Yet it is fully progressive, telling the story of the first book of the Bible from creation through to the construction of the Tower of Babylon in the space of an hour, working its way from Schoenberg to Stravinsky via Shilkret himself, Alexandre Tansman, Darius Milhaud, Mario Castelnuovo-Tedesco and Ernst Toch.

Rattle and creative director Gerard McBurney collaborated on a series of moving images and audio clips to put the Genesis Suite in modern perspective. These were thought provoking and occasionally daring. The story of Cain and Abel (with surprisingly upbeat music from Milhaud) was played out to a Middle Eastern backdrop, Ronald Reagan and Margaret Thatcher were prominent during the story of The Flood (Noah and the Ark), while the construction of the Shard against Stravinsky’s music for Babel was a powerful allegory.

Unfortunately the music was overshadowed somewhat by the wordy text, taken directly from the King James Bible, and read as written. Nor was it helped by a lack of ensemble between the starry quartet of narrators. Simon Callow and Helen McCrory stood far left, Sara Kestelman and Rodney Earl Clarke far right – which meant for the audience it was a strain to hear two of the four speakers unless sat directly in the middle, despite the amplification. Some speakers were better versed than others in their delivery, too – and maybe because of my own seated position Kestelman and Clarke appeared to have greater emotional involvement.

The London Symphony Chorus, however, were as one in their powerful contributions, dressed in white to maximise their dramatic delivery. When the men came out into the stalls for the Stravinsky finale the Suite’s tension between creation and what man has done with it reached its ultimate, tense conclusion.

Musically the Suite was inconsistent. Schoenberg’s Prelude stood out for inventive orchestration and far reaching harmonic language, while in a dramatic sense Toch’s dramatic setting of The Rainbow (The Covenant) was a notable high. Creation itself, Shilkret’s contribution, felt hurried, the seven days of creation crammed into ten minutes.

Despite these reservations Genesis Suite made a lasting impression, especially following Rattle’s assertion that all composers except one wrote in exile. After the interval another such composer, the Hungarian Béla Bartók writing in America in 1943, was to light up the concert.

It is very easy to take the LSO’s virtuosity for granted, but in a performance like this they shone from every corner. Rattle challenged them to dig deep technically and emotionally and they delivered on every level, particularly in the work’s deeply felt heart, the Elegia. Rattle and McBurney opted to continue with images, which were slow moving or static this time, depicting the forests Bartók looked on during composition. However the gauze on which the images were shown did on occasion muffle the projection of the brass musicians sat under or behind the screen.

Ultimately this did not spoil a terrific performance, where sinewy strings and percussive outbursts were complemented by outstanding, colourful woodwind playing. The first of the two scherzos brought this out, with pairs of bassoons, flutes, clarinets and oboes outstanding in their delivery, balanced by the trumpets. The finale danced energetically, bathed in a luminous glow which proceeded to leave its spell on the audience.

Further listening

You can see Sir Simon Rattle talking about the Genesis Suite below:

The music from this concert, including Rattle’s own recording of the Concerto for Orchestra, can be heard on this Spotify playlist:

On record: The Panufnik Legacies II (LSO Live)

lso-panufnik-legacies-2

Colin Matthews, Max de Wardner, Evis Sammoutis, Christopher Mayo, Toby Young, Elizabeth Winters, Larry Goves, Raymond Yiu, Anjula Semmens and Edmund Finnis Panufnik Variations
Duncan Ward P-p-paranoia
Alastair Putt Spiral
Aaron Parker Captured
Kim B. Ashton Spindrift
James Moriarty Granular Fragments
Elizabeth Ogonek as though birds
Leo Chadburn Brown Leather Sofa
Bushra El-Turk Tmesis
Matthew Kaner The Calligrapher’s Manuscript

London Symphony Orchestra / François-Xavier Roth

Summary

Three years on and the Panufnik Legacies series continues with a disc no less substantial if perhaps less diverse than its predecessor. Beginning with a set of variations on the opening theme from what is arguably the Polish-born composer’s greatest work, this continues with nine pieces again by participants of the Panufnik Composers Scheme – all testament to the scope and ambition of the LSO Discovery project which has played a crucial, even decisive role in introducing many new composers to audiences at the Barbican and LSO St Luke’s.

What’s the music like?

Panufnik Variations comprises the ‘theme’ from that composer’s Universal Prayer (1969), followed by 11 variations that open-out its essence without always probing it in any depth. From this perspective, variations by Evis Sammoutis, Christopher Mayo, Larry Goves and Anjula Semmens (3, 4, 7 and 9) are the most perceptive, with that by Raymond Yiu (8) the most entertaining in its allusion to a more famous Panufnik work often revived by the LSO. Colin Matthews orchestrated theme, first and final variations in highly professional fashion.

Of the stand-alone pieces, Duncan Ward’s P-p-paranoia packs a fair degree of incident into compact proportions, while Alastair Putt’s Spiral takes a segment of the Fibonacci Sequence as basis for its accumulating impetus. Aaron Parker’s Captured evidently utilizes ‘‘looping techniques and ambient forms’’ for its four brief fragments without a context, then Kim B. Ashton’s Spindrift evokes abstract seascapes in its ebb and flow. James Moriarty’s Granular Fragments evolves his notions of timbre and texture over three subtly contrasted miniatures.

Elizabeth Ognek’s as though birds elides its three miniatures into a cohesive if unfocussed whole, whereas Leo Chadburn’s Brown Leather Sofa brings a de Chirico-like ethos to bear on his austere musical sculpture. Bushra El-Turk’s Tmesis draws on Arabic prosody for a piece abundant in gestures that ultimately lack distinction. Finally, Matthew Kerner’s The Calligrapher’s Manuscript looks to the model-books from Johan Hering in a lengthy (12-minute) work whose two parts respectively predicate textural density then melodic clarity.

Does it all work?

Yes, inasmuch that all of these pieces – each written between 2011 and 2013 – give notice of compositional techniques thoroughly absorbed and confidently handled. If there is a proviso, it is that most (but not all) of them seem almost too well suited to the premise of small-scale works designed to slot into an ostensibly mainstream programme without causing any undue provocation. That several composers operate in part outside of the classical domain feels of little consequence when the music in question follows so overtly a post-modernist template.

Is it recommended?

Certainly, though the greater stylistic range of the first Panufnik Legacies release (LSO Live LSO5061) is a better starting-point for those wishing to get a real sense of what this scheme is about. What is never in doubt here is the excellence of the London Symphony Orchestra’s playing as it tackles these pieces, or of François-Xavier Roth’s commitment to a cause made possible in part via the involvement of the Panufnik estate. Two years after that composer’s centenary, one can only hope his own music will retain more than a foothold in the repertoire.

Richard Whitehouse