Germany Wagner, Berliner Phiharmoniker Silvesterkonzert: Vida Miknevičiūtė (soprano), Jonas Kaufmann (tenor), Tobias Kehrer (bass), Berliner Philharmoniker / Kirill Petrenko (conductor). Directed by Hannah Dorn and livestreamed on the Digital Live performance Corridor from the Philharmonie Berlin, 31.12.2023, and now archived. (JPr)
Wagner – Tannhäuser und der Sängerkrieg auf Wartburg: Overture and The Venusberg (Vienna model); Die Walküre Act I (live performance efficiency); Encore: Lohengrin Prelude to Act III
In Vienna on the flip of the yr they gave glowing – and uplifting – performances of Johann Strauss II’s Die Fledermaus (evaluate right here): while in Berlin musical issues have been reasonably extra downbeat and the Berlin Philharmonic gave three all-Wagner performances, that includes the primary act of Die Walküre.
To open the live performance we heard the Vienna model of the Overture from Tannhäuser. I used to be stunned how closely the Pilgrims gave the impression to be trudging alongside originally. Nevertheless issues improved – for me – with the abrupt change of tempo when the music turns into extra Mendelssohnian. The Pilgrims have now handed into the space, and we have now entered the realm of the Venusberg with its sirens, naiads and nymphs. It was now a wonderful musical cacophony which reached the orgiastic heights of the Bacchanale which threatened to get uncontrolled; although underneath the smiley Kirill Petrenko and his elegant balletic gestures on the rostrum, it by no means did. It goes with out saying the taking part in by the Berlin Philharmonic was virtuosic and it resulted in fantastically managed, shimmering, post-coital (?) repose.
As anticipated, the Berliners whipped up fairly a storm for the beginning of Die Walküre Act I underneath a now-stern trying Petrenko who has appreciable expertise of Wagner within the opera home. As the 2 timpanists thundered away the affect of Siegmund’s flight – we hear him working for his life within the music – was dissipated by having Jonas Kaufmann already onstage. I’ve not at all times been the most important admirer of Kaufmann and am happy to report that minor criticism is my solely antagonistic remark of his efficiency on this event. In fact, I used to be solely listening to him via loudspeakers however – maybe as a result of his current restoration from his much-publicised (vocal) well being points – I assumed I skilled his Siegmund extra within the tenor register than I’ve heard earlier than. Kaufmann’s singing appeared a lot much less baritonal and with little resorting to a crooning head voice which – for me – he has overused previously. He was dramatically engaged all through, and his highlights have been the stentorian cries of ‘Wälse! Wälse!’, an intense and fantastically phrased ‘Winterstürme wichen dem Wonnemond’ and the joy he delivered to the tip of the act as he claimed each a bride and a sister, in addition to the sword, Nothung.
Vida Miknevičiūtė was just lately described by my colleague Mark Berry as very a lot ‘a soprano of the second’ and her New 12 months’s Eve Sieglinde solely appeared to verify this. The place applicable she introduced bitterness, anguish, urgency, passion and elation to ‘Der Männer Sippe’ and ‘Du bist der Lenz’. She is a compelling singing-actor and together with Kaufmann and Tobias Kehrer’s Hunding there was not solely vocal appearing but additionally enough bodily appearing from the trio on the platform to carry the drama alive. The emoting Kehrer – who was changing Georg Zeppenfeld – was a vehement, wild-eyed, menacing and black-toned Hunding who dominated the couple of minutes he was concerned. The hatred he expressed for Siegmund’s ‘wild race’ was visceral and chilling.
Whereas I desire my Wagner staged this was a really memorable efficiency. Petrenko wished the viewers and people watching a Blissful New 12 months – with the hope that it could be a extra peaceable one – earlier than a short encore. This was a brilliantly jubilant Prelude to Act III of Lohengrin which was good in miniature and extra proof of how distinctive the Berlin Philharmonic Orchestra are. There have been many vital solo moments from its musicians throughout the live performance together with concertmaster Noah Bendix-Balgley, cellist Bruno Delepelaire and clarinettist Bruno Delepelaire, amongst others.
Jim Pritchard
