Download PDF Hexenritt from the operetta Hänsel und Gretel - Piano

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Formal structures and conventional tonality were fading from his musical vocabulary, but the breadth of his genius ensured that theoretical exercises in modern idioms remained unfailingly musical and often indescribably beautiful. Pickwick Esq. Lewin provides one with unyielding brilliance of technique and artistic intelligence. The ingeniously chameleonic piano music of Claude Debussy is the vehicle with which Michael Lewin coaxes an engrossingly individual performance from the impersonal keys of his piano, and Beau Soir is nothing less than an intimate discourse between a great composer and a preeminent interpreter of his music.

Eavesdropping for a little more than an hour, the cares of the world melt into aural spectacles that comfort and confound. Wimmer Gretel , U. Schenker-Primus Peter , R.

Teem Gertrud , A. Dismissed by many audiences, critics, and musicians as an insipid entertainment for children, an analytical look at the score reveals a masterful work, crafted with obvious musical genius and instinct for the stage. In this performance, the consistently high level of accomplishment by the choristers is superb, with the singing by the ladies of the Opernchores des Deutschen Nationaltheaters Weimar, directed by Markus Oppeneiger, making a strong impression.

Prepared by Cordula Fischer, the singing of the children of schola cantorum weimar is both musically impeccable and wonderfully moving. Their efforts are complemented by the powerful playing of the Staatskapelle Weimar. The otherworldly characters are all entrusted in this recording to capable singers. On records, too, the tradition is charmingly embodied by an unexpectedly vivid performance of the part by tenor Peter Schreier. His falsetto singing can be grating, but when Mr.

Occasional unsteadiness on sustained tones undermines his efforts at making this Rosine Leckermaul atypically appealing, but his intelligence is apparent. Despite the novelty of having a baritone in the part, there are less caricature and annoying distortions than in many performances, and Mr. This recording offers a fortifyingly secure-toned pair of parents. Peter, the down-on-his-luck broom-maker, is charmingly sung by German baritone Uwe Schenker-Primus.

The good humor and beaming pride with which he returns to his family after an unusually successful day of peddling his wares is palpably conveyed, making the contrast of the terror that encroaches on his happiness when he discovers that his children have gone into the threatening forest all the more gripping. Joy returns upon his discovery of his unharmed children, and Mr. In the performance of American soprano Rebecca Teem, Gertrud is less of a harridan than she becomes in many performances.

Taking up the mantle of sopranos with Wagnerian credentials like Rita Hunter and Hildegard Behrens who have proved the most persuasive Gertruds, Ms. Teem invests her performance with potent vocal amplitude. This Mutter scolds her children without ever seeming hateful, however, and her interactions with her husband are loving even when manic.

Hexenritt from the operetta Hänsel und Gretel Sheet Music by Engelbert Humperdinck

Unlike many recorded Gertruds, Ms. To her credit, she endeavors to portray a young boy by maintaining a lean line rather than by employing calculatedly puerile mannerisms. Shigeshima, her high G having an especially attractive gleam. The lower octave of Ms. There is a boyish irascibility in Ms.

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He trembles with fear in the forest, however, and his instinct to protect his sister is audibly engaged when they are confronted by the Knusperhexe. The object of her concern is alluringly portrayed by Austrian soprano Elisabeth Wimmer, who is a more knowing Gretel than many. Wimmer amusingly plays the fool when tricking the Knusperhexe into demonstrating proper use of the magic oven, but there is nothing foolish in her management of her voice. Like Ms. Shigeshima, Ms.

Wimmer sounds youthful but not singularly girlish. Still, there is a disarming freshness in her singing. If Ms. Shigeshima and Ms. Wimmer do not conjure an aural image of young children exuberantly disobeying their parents, the confidence and security of their singing proves most rewarding. With only a handful of recordings of the tenor arias on disc and a lovely performance by Werner Hollweg awaiting transfer to CD , what is needed—for better or worse—in order to introduce these pieces to 21st-Century listeners is the advocacy of a star singer. These arias make strenuous demands on the woodwinds and horns, and the LSO players respond unflinchingly to the most virtuosic passages, taking care to listen to each other, the singer, and their conductor.

The details of his interpretations are never obtrusive, and both his tempi and his highlighting of individual passages simply sound right for the music.


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It is apparent that Maestro Pappano not only knows these arias inside and out but also possesses a deeply sympathetic awareness of how they challenge and reward his tenor. Vocally, the disc begins inauspiciously. In general, however, Mr. In the aria from Lo sposo deluso , Mr. Mozart the dramatist remained in his infancy, but already Mozart the musician was reaching beyond the examples of his contemporaries.

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More than any other composer of his generation, Mozart possessed an innate gift for achieving extraordinary feats of emotional connection via often surprisingly sparse musical means. The ebbs and flows of the vocal line are delivered with consummate grace by Mr. As so often in Mr. His is a voice tanned by sultry Latin sunlight, dark and burnished but heavy only when he wishes it to be.

It is a voice that, in the space of a single bar of music, can burst with laughter or drip with tears, and, whatever reservations a listener might have about the stylistic aspect of Mr.

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Nothing that Mr. In the rarest of instances, it is also an extraordinary occasion for the audience fortunate enough to witness it. The programme—featuring four of the most daunting bravura arias of the Eighteenth Century—was repeated on the evening of Tuesday, 18 February, and her second appearance with the CSO found Ms. Genaux at the zenith of her powers both as a vocalist and as a vibrant interpreter of theatrically heightened emotions in sound, even in concert. His work with the CSO players—reduced in numbers for this performance, naturally—produced articulation that was mostly crisp and stylistically appropriate.

Associate Concertmaster Stephanie Jeong made particularly admirable efforts at adapting her technique to the delicate requirements of Baroque playing, and her colleagues noticeably endeavored to follow her example. Still, there were disparities among the sections, with the lower strings occasionally failing to match the accomplishments of the violins and oboes in terms of apposite phrasing. The subtle eloquence of the third movement Adagio was underpinned inventively by Mr.

The broadly-conceived final gigue was played expansively but with meticulous care for its precise rhythms, and here, too, Mr. Supplemented by a pair of horns, superbly played, the strings and oboes again strove for a manner of playing appropriate to the music. It is unlikely, though, that any conductor who presided over past CSO performances brought as much understanding of the music and sheer fun as Maestro McGegan exhibited in his conducting of the score.

Maestro McGegan conducted with insightful attention to every transition of key and tempo, the technique of the music-making firmly, rightly rooted in the Eighteenth Century but the spirit of the performance soaring into the Nineteenth. His performance revealed that Maestro McGegan is among the few conductors active today with a mastery of the art of cuing players, and it was apparent that he was actually listening to the musicians rather than merely waving his hands at them.

Had she paraded along Michigan Avenue at the head of an invincible army, her conquering of the city could not have been more complete. The audience on Tuesday evening rewarded her performance with a standing ovation, an honor that in Symphony Hall still must be earned. The volleys of coloratura with which Licori contemplates the soul-crushing weight of misfortune were launched with brilliance, the darkness of the timbre increasing the emotional intensity of the nimbly-ornamented vocal line.

Genaux consistently integrates vocal pyrotechnics into the interpretive nuances of her performances, embellishing da capo repeats lavishly but tastefully. Even when the sheer profusion of notes necessitates punctuating phrases with breaths, Ms. Genaux artfully conceals effort in displays of passionate but completely natural musical drama.

The original design of the CSO concert had all four arias performed in succession, but as was explained in brief introductory remarks the decision was made to present two arias before the interval and two after, allowing—as Maestro McGegan quipped—Ms.

April 29, 2009

Listeners who are acquainted with Pyrotechnics , her recital disc of Vivaldi arias, perhaps were not surprised by the way in which Ms. Not only was her singing of the rapid-fire coloratura spot-on, both in pitch and in rhythm, but the leaps from top to bottom of the range were perfectly managed. The sharply-differentiated lilting passages were highlighted by Ms. A special joy of Ms. Were he on hand to hear such a performance of music that his gifts inspired, Farinelli could only have been proud—unless, of course, he was understandably jealous.


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The programme of music by J. This music is the natural habitat of Jory Vinikour and Nicholas McGegan, but there was nothing routine about their performances, which approached the music as though they were affectionately greeting old friends. Ziesak Laura , J. Borchert Gianettina , T. Blondelle Fernando , J. Kupfer Graf Viterbo , C. Immler Anselmo , K. Wolff Carlo , Y. Looking beyond the boundaries of standard repertoires, the inquisitive decision-makers at cpo have rediscovered and reintroduced to the public countless works of merit spanning five centuries of musical creativity.

Originality is deemed invaluable in music, especially in forgotten works, but there is much to be said for a composer who absorbs the influences of his own and previous generations, learns from the successes and failures of his artistic milieu, and adapts the styles of his contemporaries to his own specifications. Their efforts are supported by the unwavering excellence of the playing of the WDR Sinfonieorchester.


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Maestro Griffiths conducts with sweep, refusing either to linger over lyrical episodes or to whip extroverted passages into frenzies that his cast cannot sustain, and his support of the principals is generally instinctive and managed with finesse. Tenor Dirk Schmitz sings vehemently as Pietro, the scheming foster son of the Count of Viterbo, making the most of the limited opportunities the character offers him before he is killed in the Act One Finale.

https://inrenchintcallu.ml He contends with one of the finest quartets of low-voiced soloists heard in a recent recording of any repertory.