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Stage and Cinema, October 22, 2021 |
by Tony Frankel |
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Liederabend, Santa Monica, 21. Oktober 2021 |
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THESE LIEDERS ARE NOW ON MY LISZT
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Something incredibly special is happening in Santa Monica. The Broad Stage
has reopened this week with live performances from German Tenor Jonas
Kaufmann last night and The Danish String Quartet last Saturday, both of
whom are in extraordinary demand in their fields of opera and chamber music.
Both concerts were extraordinary, each receiving a most rousing reception.
But it was The Broad Stage itself that is newsworthy: While COVID shutdown
live performances. the powers that be were busy replacing the seats in this
most transplendent, intimate auditorium — truly a jewel in L.A.’s crown of
music/stage venues. Even better, the sound has been updated. I was in Row J
towards the back of the theater, and the audio positively encircled me. The
new acoustics meant that we can hear artists doing what they do best without
the aid of amplification.
Herr Kaufmann released a new album
Freudvoll und leidvoll (Joyful and sorrowful) on September 17, joining
forces again with pianist Helmut Deutsch — who played for Kaufmann on their
previous album, Selige Stunde — to perform a program of songs by the largely
neglected lieder composer, Franz Liszt. Deutsch has said that Liszt was one
of the great idols of his youth, alongside Elizabeth Taylor and Herbert von
Karajan. And that is shown by his magnanimous, sensitive, alluring
interpretations of Liszt, whose songs covered the first half of the concert
at The Broad. Both men have a special affinity for the Liszt lieder, so that
composer’s music has long been featured in their shared concert career.
What I can say is this: The written piano accompaniment is outrageously
wonderful and gruelingly difficult to play, but Deutsch made it look easy,
avoiding those pretentious Lisztian flourishes that many pianists feel are
necessary. It also helps that the passages show a kinder, gentler Liszt. But
something was a bit amiss for me in that the vocal lines didn’t always seem
to match with the accompaniment. Which may validate why Liszt hasn’t always
been at the forefront of salon performances. Among Liszt’s musical
contributions were the symphonic poem, developing thematic transformation as
part of his experiments in musical form, and radical innovations in harmony,
but his bite-sized pieces — written between 1840 and 1847 — aren’t at the
sumptuous level of other writers represented in this field: Mozart,
Schumann, Schubert, Strauss, Dvorak, Chopin, Tchaikovsky, Mahler.
And
interestingly enough, Kaufmann wasn’t nailing the pianissimo passages with
controlled strength during the Liszts, which began to grow on me with each
song and, later, listening to the CD; but fear not, the tenor warmed up for
the second half and his forte blew out the back of my head during the
phenomenal concert. His trademark notes — strong, resonating, emotional,
timber-shaking — and Shakespearian stage presence were there for this
unsurpassed concert, which was so passionate that the sold-out crowd
demanded SIX encores, as the still-handsome tenor was tossing out High C’s
with seeming ease, as if he were throwing T-Shirts into the audience. Simply
thrilling. (He also asked us to hold applause between songs, which was more
than wise given their length.) The prices were quite high — most seats being
$350 — so this was I assume basically a fan-based crowd. I would love to see
him in a role at LA Opera soon. Heaven knows I’ll be getting back to The
Broad as often as possible.
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