Archive for March 7th, 2014

Petrenko’s Rosenkavalier

Friday, March 7th, 2014

Otto Schenk’s 1972 staging of Der Rosenkavalier for Bavarian State Opera

By ANDREW POWELL
Published: March 7, 2014

MUNICH — Kirill Petrenko unobtrusively passed the litmus test of Der Rosenkavalier here this week, shaping the score on his own terms (March 5) amid the hoopla of his Bavarian State Opera company’s 2014–15 season announcement.

Energetic, vivid, not so flexible, often perilously fast or loud, but dynamically controlled, it was Strauss in the vein of Fritz Reiner more than departed local deity Carlos Kleiber (or for that matter Herbert von Karajan or Christian Thielemann). The orchestra scrambled at the start, and moments of repose through the evening were few.

Onstage the Generalmusikdirektor from Omsk, 42, had support in the experienced, affecting Feldmarschallin of Soile Isokoski and the commanding, comic Ochs of Peter Rose. But Mojca Erdmann worked hard for volume as a stiff, vaguely shrewish Sophie, and Alice Coote’s mezzo-soprano sounded stronger on top than in the middle, where the Knight’s music lives.

Otto Schenk’s faithful 42-year-old production — it entered the world 69 days after Petrenko and is now under threat of replacement — moves traffic with consummate expertise in Act I and still guarantees applause for the opulence of its Act II.

Photo © Wilfried Hösl

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A Complete Frau, at Last
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Bretz’s Dutchman, Alas Miked
Thielemann’s Rosenkavalier

Vijay Iyer: Mutations

Friday, March 7th, 2014

Vijay Iyer – Mutations

Vijay Iyer, piano and electronics; Miranda Cuckson, violin; Michi Wiancko, violin; Kyle Armbrust, viola; Kivie Cahn-Lipman, violoncello

ECM Records CD ECM 2372

 

Pianist and composer Vijay Iyer makes his debut on the ECM imprint with Mutations, a recording of three piano pieces (two of them electronically enhanced) and the title work, a quintet for piano, string quartet, and electronics. The electronics involved are triggered from a laptop. Most are samples of stringed instruments making non-pitched sounds which are often used as rhythmic gestures or else as atmosphere.

 

The CD presents both Iyer’s notated music and improvisations. Rather than try to make a seamless transition between these two aspects of music-making, they are placed side by side in Mutations, with concert music for quartet in the spirit of Ligeti and Reich abutting jazz piano solos. All of the various elements – notated composition in modern and minimal veins, electronics, improvisation – dart in and out of the proceedings, creating a stylistically kaleidoscopic effect. What unites these disparate elements is the abundant musicality with which Iyer deploys them.

 

Other projects on ECM have been announced to follow Mutations, including recordings with small jazz groups and large ensemble. But leading with this CD is an audacious move that signals a new, ands thus far fascinating, chapter in Iyer’s body of recorded works. Recommended.