lunes, agosto 22, 2016

Barenboim/Kaufmann, an anticlimax closing the Festival

This is a sad review, for after calling the preceding concert (Barenboim/Argerich/WEDO) the event of the year, readers may expect a rather enthusiastic response to the last session of the Festival. But I went to the Colón in morose mood, for three facts were inexorable: the programme was too short; it presented the famous tenor in baritone repertoire; and it´s simply and irrevocably unethical to repeat a major score in the same subscription series.

            What drove me mad was the fact that the season programme, distributed in March, says: "we will present the dashing debut of German tenor Jonas Kaufmann, who will delight our public with the music of Richard Wagner, avid to know one the maximal lyric expressions of our time". And this is what we got: the Prelude to the Third Act of Wagner´s "The Mastersingers"; Gustav Mahler´s "Songs of a Wayfarer"; and Mozart´s Symphony Nº41, "Jupiter".

            I can accept the first item (it was the encore of Concert Nº5; the encore, not one of the announced fragments). But baritone Mahler? And the repetition of Mozart´s "Jupiter" (played in the initial concert along with Nos. 39 and 40)? Sorry, there´s a limit to arbitrariness, even coming from world figures like Kaufmann and Barenboim.

            About Mahler: was it the tenor´s wish? Or did he propose something else and Barenboim vetoed it? I don´t know, but I give you a piece of news: Kaufmann will sing in Santiago de Chile a programme of operatic arias from Italian and French composers: "Tosca", "Aida", "Carmen", "Cavalleria Rusticana", "Le Cid", "Andrea Chenier" and "Turandot". Mouth-watering indeed, although it has no Wagner.

            Two ways to have done a decent programme: a) change the Wagner symphonic pieces in the concert with Argerich with, say, Brahms´ Fourth Symphony, and play the same symphonic fragments around Kaufmann, singing arias from "Lohengrin", "Die Walküre" and "The Mastersingers" (he has just sung the complete "Mastersingers" in Munich). b) Do the same programme as in Santiago, adding symphonic opera music to round it off.  

            I have perused the CD R.E.R. catalogue of 2000 in the entry: Mahler: "Lieder eines fahrenden Gesellen" ("Songs of a wayfarer"). The character of the songs is clearly manly, but several ladies of great career haven´t resisted the temptation and have recorded the lovely music. But not one tenor risked recording it and for good reason: hear the young Fischer-Dieskau with Furtwängler and then recollect what you heard at the Colón with Kaufmann, and what a falling off! Is it an experiment and he decided to try it here? For I read that he has an even stranger idea: to sing both the tenor and the baritone parts in Mahler´s masterpiece "Das Lied von der Erde" (Song of the Earth"); and that lasts an hour!

            The voice sounded veiled and out of register, but the man is an artist and of course he phrased with expression and taste, splendidly accompanied by Barenboim and his WEDO (West-Eastern Divan Orchestra). Then came the very partial saving grace, after just 18 minutes of singing: the lovely "Winsterstürme", Siegmund´s aria from "Die Walküre". There his real voice appeared. And then, helpers moved the piano and Barenboim accompanied him in the Tristanesque "Träume", last of the Five Wesendonk Lieder: beautifully done, though he was poaching in soprano repertoire. At least in this case Kaufmann has two antecedents: Melchior and Kollo, but both with orchestrations not done by Wagner. 

            Readers may remember that two years ago I wrote enthusiastically about his Alvaro ("La Forza del Destino") in Munich: even in a horrid staging there was no doubt about his exalted category. So he owes us a second visit singing opera and has shown bad judgment in his debut. I do hold great hopes for his forthcoming Lieder recital.

            It transpired that both Argerich and Barenboim were affected by the flu, markedly so when they repeated the fifth programme, in which there were no encores; and that Barenboim wasn´t cured on the concert with Kaufmann.  There was no encore after the "Jupiter", to my mind played with less rhythmic bite than on the first concert (of course everyone was fresher then).

            I do hope that next year Barenboim will be more careful and ethical: he owes it not just to the public, but to himself. This is a very expensive series, and two concerts in it were clearly below par; a third one is a controversial decision, that of Arabic music. Let´s have a real Festival where everything is topnotch.

            A personal desire: he has expressed his enthusiasm with Elgar: wouldn´t it be a great contribution to bring the powerful Second Symphony?

For Buenos Aires Herald




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