Posts Tagged ‘Christiane Karg’

Earful of Joy for Trump

Friday, June 23rd, 2017

The Elbphilharmonie in Hamburg

By ANDREW POWELL
Published: June 23, 2017

MUNICH — Beethoven’s Ninth Symphony, complete, is slated for President Trump’s second orchestra concert on the job, to take place, like the first, in Europe, specifically at Hamburg’s new Elbphilharmonie. Details of the July 7 event, part of the 12th G20 Summit, were announced Wednesday by a spokesman for Bundeskanzlerin Angela Merkel. A classical-music fan and the summit’s host, Merkel reportedly chose the program herself. Among summit attendees known to enjoy good music: French president Emmanuel Macron and Russian president Vladimir Putin.

Christiane Karg, Okka von der Damerau, Klaus Florian Vogt, Franz-Josef Selig and the Hamburg State Opera Chorus will sing Schiller’s words; the Philharmonic State Orchestra Hamburg will be led by Kent Nagano. Beethoven’s “Ode to Joy” theme, without the words, is the official anthem of the European Union; in the “universal language of music,” the anthem expresses “European ideals of freedom, peace and solidarity.” An on-site dinner is scheduled before the performance.

Starting the day before, the Elbphilharmonie will become a Sicherheitszone, or security area — as will the full local width of the Elbe River, three adjacent quays, the airspace, and much of central Hamburg — to prepare for the concert venue’s role as an “official meeting place for the heads of state and government” taking part in the summit. Hamburg police expect “around 8,000 violent demonstrators.” G20 delegations are due to arrive that day; Trump and Putin will be meeting for the first time.

The G20, or Group of Twenty, comprises 19 countries plus the E.U. It accounts for 80% of global economic output in terms of GDP, adjusted for purchasing-power parity. In 2015, China’s GDP was around 19.7 billion “international dollars,” so adjusted, making it the largest economy in the world, followed by the United States, India and Japan. Germany was in fifth place, at 3.9 billion international dollars.

Photo © Maxim Schulz

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Nézet-Séguin: Hit, Miss

Friday, June 26th, 2015

Yannick Nézet-Séguin rehearses in Munich’s Herkulessaal in June 2015

By ANDREW POWELL
Published: June 26, 2015

MUNICH — It would probably be asking too much for Yannick Nézet-Séguin to stand still while conducting. He likes to throw himself around, as if anything less might diminish the enthusiasm he intends to convey or deprive his musicians of essential signals. Mostly it works. He is after all a success. Yesterday (June 25) in the Herkulessaal here his physical language neatly fit every idea in Haydn’s E-Minor Trauer Symphony, No. 44 (1771), and contradicted every breath of Brahms’s German Requiem (1868).

Despite its name the Haydn does not overtly relay mourning, although its Adagio has a certain sadness, with violins con sordini and lines tending to descend. The Bavarian Radio Symphony Orchestra played the four movements affectionately, lending charm to the two-voice canon of the second and preserving clarity in the Finale, taken prestissimo by the scoreless Canadian maestro. The audience listened in rapt silence.

Closing one’s eyes for the Brahms solved part of the problem on the podium but left an interpretation insistent on bright color and drama, and not only in the second and sixth movements. Forget introspection. The BR Chor sang glowingly and with considerable power as prepared by Michael Gläser. The soloists were disappointing. Christiane Karg lacked ideal control and vocal weight for the soprano’s ethereal Ihr habt nun Traurigkeit. Baritone Matthias Goerne sounded firm in the low notes, but he swallowed consonants and staggered about like a drunk at a banquet, without tie, forearms and belly thrust forward. (Memories of José van Dam and the dignity he brought to this assignment, mostly motionless, accentuated the sad spectacle.) The orchestra mustered passion as well as its customary precision even if flute and oboe lines often pierced the air. At the end, after shaping Brahms’s masterwork so theatrically, Nézet-Séguin stood in place for a long, contrived silence, intended presumably to register the music’s meaning. Today’s performance of the same program (June 26) will be broadcast by BR Klassik, and the German Requiem will no doubt find its way to disc.

Still image from video © BR Klassik

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