Summer 2011 - part I

It is a quite wet summer this year and this makes it not easier for a singer to stay healthy.

Here I'll show some reviews from concerts, Magdalena did since June across Europe.

Aldeburgh 10.06.2011 - Das Lied von der Erde

Friday 10 June 2011
Aldeburgh Festival
CBSO and Simon Rattle
City of Birmingham Symphony Orchestra
Magdalena Kožená mezzo soprano
Michael Schade tenor
Simon Rattle conductor

Messiaen Et exspecto resurrectionem mortuorum
Mahler Das Lied von der Erde


Andrew Clark in FT.com - 12.06.2011:

...
The CBSO was at the top of its game, responding to Rattle’s encouragement with wonderfully diaphanous sounds. Even so, it was Kozená who set the tone. Rattle had warned us before the start that she was far from well – but her determination, allied to the delicacy of Mahler’s scoring and the deep-seated warmth of her timbre, resulted in a performance of exceptional candour. All other sounds – even the bluster of tenor Michael Schade – faded into the background as Kozená, earth spirit-cum-soul singer, communed with the music, squeezing every last gasp of its world-weariness.
4/5*


Gareth Jones in Evening Star - 13.06.2011:

Review: Aldeburgh Festival, CBSO/Rattle, Snape Maltings, June 10

...
Das Lied von der Erde requires a very large orchestra and one initially wondered how an indisposed Magdalena Kozena would fare against such forces. In the event she sang very well and Jane Irwin was an unused substitute. Rattle and the players produced playing of the highest refinement and delicacy, Kozena picked up the autumnal weariness of the second movement effectively and was deeply moving in the final Der Abschied.
...


Mike Reynolds in musicalcritisism.com - 14.06.2011:

Aldeburgh Festival: Mahler's Das Lied von der Erde and Messiaen's Et exspecto resurrectionem mortuorum

...
In a clever and communicative move, Rattle had warned his audience even before the Messiaen began that his wife Magdalena Kozena was suffering, and might have to be replaced even halfway through the Mahler by a valiant Jane Irwin, who had driven to Snape all the way from Preston to be on hand, just in case… In the event, Kozena sang her three songs - beautifully - and Irwin did not need to appear. But it was probably a fairly close call.
...
But if Rattle was considerate (mostly) towards his tenor, he really nursed Kozena along the path to one of Mahler's most demanding songs, 'Der Abschied'. She responded with a magnificent, dramatic singing performance that at times almost touched the heights - only once or twice, in the lower register, were we reminded that she really was, undoubtedly suffering for her art. The little catch in the voice at 'Die Welt schlaft ein' was one such moment.

Kozena has an extraordinarily intense voice, a facility for colouring the notes she sings with real dramatic expression, and both in 'Der Einsame im Herbst' and in 'Von der Schonheit' she showed us just why she is such a good performer onstage. But it was in 'Der Abschied' that she really came into her own, spinning a remarkable melodic line that must have called for incredibly clever - or brave - breath control, given her indisposition. The result was wonderful. I have often heard much deeper, fuller, more resonant contraltos sing Das Lied von der Erde, and it was of course in this cycle that Kathleen Ferrier gave one of her most moving and memorable live performances, but Kozena brought something different: a lighter, brighter, more dramatic interpretation that only subsided into darker-toned resignation and acceptance of inevitable death in the closing bars. 'Ewig…ewig…'; Can there be a more elegiac, moving end to an orchestral song cycle than the extraordinary passage that accompanies these repeated words (and a passage that utterly thrilled Benjamin Britten when he first heard it)?

So, a concert of two halves. By the end, a beautifully-judged triumph in the Mahler - and what would I not give to hear Kozena sing it again, in peak condition!
...


Michael Church in The Independent - 15.06.2011:

Kozena/Rattle/Kirchschlager/Bostridge/Knussen, Aldeburgh Festival

People had come miles to hear Magdalena Kozena at the Maltings, and when Simon Rattle announced that his wife was sick and liable to conk out half-way through ‘Das Lied von der Erde’ – and that a relief mezzo was on her way – disappointment was palpable. And as Kozena answered tenor Michael Schade’s jubilant drinking song with her autumnal plaint, she did indeed sound as overwhelmed by life as her fictional character: her low notes were barely audible.

But as Mahler’s Chinese song-cycle swept on, she got caught up in its magnificence: the colour returned to her voice and she began to smile, bringing an excited fizz to Li Tai Po’s paean to youth and beauty. The doom-laden horn-calls at the start of the work’s farewell summoned an answering resonance from her, and though her voice was not its pristine self she carried the song with sheer charisma through its majestic valedictory landscape.
...


Jürgen Otten in Frankfurter Rundschau - 16.06.2011:

Die wunderbare Sängerin Magdalena Kožená rettet den Eröffnungsabend

...
Und wäre nicht in Mahlers „Lied von der Erde“ die wunderbare (leider angekränkelte) Magdalena Kožená gewesen, man hätte den Abend wieder vergessen, weil er so profan routiniert wirkte.
...


Tam Pollard in wheresrunnicles.com - 12.06.2011:

Rattle and the CBSO open the 2011 Aldeburgh Festival with Messiaen and Mahler

...
This excellence wasn't quite matched vocally. Here excuse must be granted to mezzo soprano Magdalena Kožená. Before the start of the concert Rattle took to the stage to explain that his wife had picked up some bug or other but would try to sing anyway. (Jane Irwin had driven down from Preston and was waiting in the wings to take over.) On stage Kožená clearly didn't look at all well, indeed she looked like she'd much rather have been curled up in bed with a nice hot drink. Her performance was all the more creditable as a result and was more than adequate. True, the voice was unsteady at low volumes, but there was a powerful emotion to her performance and it in no way left you wishing for Irwin to take over. In the end, Irwin remained in the wings, though she will take the stage for tonight's Birmingham performance.
...



Birmingham 12.06.2011 - Das Lied von der Erde

Now it happened:

Please note that Magdalena Kožená has withdrawn from this performance due to illness. We are grateful to Jane Irwin, who replaces her at short notice.


We attended this amazing concert, but missed Magdalena very much. The Aldeburgh concert was recorded by BBC3 and could be heard on several radio stations in their festival series this summer.


This Carmen was long awaited but it seems to be strange for many people to see Magdalena as a Carmen. As fans know there were already two performances in Caracas and some excerpts of the famous arias, e.g. in Prague (Narodni Divadlo) or in Dublin.


Valladolid 23.06.2011 - Carmen

G. Bizet, Carmen: Soloists, Orquesta Sinfónica de Castilla y León, Coro de la Comunidad de Madrid, Escolanía de Segovia. Conductor: Lionel Bringuier. Auditorio Miguel Delibes de Valladolid. 23.06.2011

Semi staged version

Director: Calixto Bieito

Cast:

Carmen: Magdalena Kožená
Don José: Nikolai Schukoff
Escamillo: Gabor Bretz
Micaëla: Alexia Voulgaridou
Zúñiga: Wojtek Gierlach
Morales: José Manuel Díaz
Frasquita: María Eugenia Boix
Mercedes: Marifé Nogales
Remendado: Francisco Vas
Dancaïre: César San Martín



MF DNES - 08.04.2011:

...
Mezi těmito závazky ještě zajede do španělského Valladolidu, kde si poprvé vyzkouší Bizetovu Carmen. Zatím „jen“ v poloscénické verzi, která bude uvedena 23. a 25. června v rámci koncertní sezony Symfonického orchestru Kastilie a Leónu. Donem Josém bude italský tenorista Massimo Giordano, dirigentem Lionel Bringuier. Třebaže nepůjde o klasické divadelní představení, v programu je uveden i režisér, jímž je katalánský „enfant terrible“ Calixto Bieito, pověstný skandálními inscenacemi. „S panem Bieitem jsem nikdy nepracovala, jeho představu zatím neznám, ale jsem zvědavá a těším se,“ podotkla Kožená. Další Carmen ztvární na Salcburském festivalu 2012, kde bude jejím jevištním partnerem německý tenorista Jonas Kaufmann.
...


INÉS MOGOLLÓN in ABC.es - 05.06.2011:

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En lo que respecta al elenco he de decir que a primera vista resulta cuando menos prometedor; para empezar, el papel de la temperamental gitana será encarnado por la mezzosoprano checa Magdalena Kozená que, como saben bien los melómanos, ha forjado su prestigio en los circuitos internacionales interpretando magistralmente exigentes repertorios barrocos, desde las cantatas y pasiones de Bach hasta los roles operísticos de Händel, pasando por Rameau, Gluck y cómo no, Mozart. En consecuencia la Kozená se ha convertido en una de las voces líricas favoritas del público y también en una referencia para maestros de la talla de Gardiner, Harnoncourt, Minkowski o Reinhard Goebel. Teniendo en cuenta esta trayectoria, el interés de la Kozená por asumir el papel de Carmen es sorprendente, un volantazo en su carrera que está generando mucha expectación. Desde Venezuela —donde hace menos de un año ofreció esta ópera también en versión concierto dirigida por Simón Rattle— nos llegan referencias de que defiende bien el papel, todo un reto vocal y actoral, que la mezzosoprano está trabajando para pasar su próximamente su prueba de fuego sobre los exigentes escenarios del Festival de Salzburgo precisamente a las órdenes de Rattle.

El interés de Kozená por asumir el papel de Carmen es sorprendente, un volantazo en su carrera que está generando mucha expectación
...


Victoria M. NIÑO in El Norte de Castilla - 24.06.2011:

Lionel Bringuier alumbra a una OSCyL tan brillante en el foso como en el sinfonismo

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La habanera que afirma que el amor «es un pájaro rebelde que nadie lo puede enjaular», la que inspiró Celeste Venard 'La Mogador' -de tantas concomitancias con esta protagonista-a Bizet, es un reclamo sonoro que dibuja España en el imaginario del escuchante. Grave, seductora, creciente, la expresividad vocal de Magdalena Kozená resultó discordante con su cuerpo.
...


ROSA SANZ HERMIDA in ABC.es - 01.07.2011:

Broche de diamantes

...
Inevitablemente, la «Carmen» encarnada por Magdalena Kožená tenía que ser así: rubia, de tímbrica algo oscura y estética centroeuropea. Con aire de «petite sauvage» (a lo Paulette Goddard de «Tiempos modernos») y actitud de «femme fatale» (al estilo Greta Garbo), la heroína recreada por Kožená se aleja de la imagen tópica, aunque esto no le resta belleza, aunque tal vez sí fuego. Ha defendido su papel con convicción y firmeza; deliciosa desde su entrada en escena hasta el soberbio dúo final con don José, lleno de pasión, fuerza y verdad escénica.
...


José MªIrurzun in seenandheard-international.com - 26.06.2011:

Kožená’s First Gypsy Girl: Carmen from Valladolid

...
But the attraction of the character remains and Magdalena Kozena was not going to be an exception. The result was a mixed bag. Ms. Kozena is a great professional, as she came to the concert with her homework perfectly done, knowing the score inside out. But even my low expectations were not much exceeded. Her mezzo soprano works fine, singing with intention and good taste, although the volume is somewhat limited and the timbre is too light for this character. She has a voice more suited to Melisande than to Carmen. On a few occasions one misses a stronger low register, as in the aria of the cards… Still, she dealt admirably with the difficulties of the score. What I didn’t find convincing was her interpretation of the role, her understanding of the character, despite being a good actress. Her Carmen lacks joy and zest for life, resulting in a rather sad and depressing character, quite out of the idea of both Merimée and Bizet. It is hard to believe that this woman—for all her attractive looks—would be the object of obsessive passion among the men around her. Nor did Bieito’s ideas help her case; it might have been better to just let her do her own thing. I am sure Ms. Kozena will draw her own conclusions of this experience, although it is clear that the public was not enthusiastic about her performance.
...

Valladolid 25.06.2011 - Carmen

La soprano María José Montiel sustituye a Kozená en 'Carmen' en el Delibes.


Unfortunately Magdalena had to withdraw from the second production.



Santiago di Compostela 22.07.2011 - Festival Via Stellae:

Magdalena in 2 concerts this evening!

Sala Capitol

noite de clausura
MAGDALENA KOZENA MEZZOSOPRANO
ORQUESTRA BARROCA DE VENECIA
ANDREA MARCON DIRECTOR
MERULA, MONTEVERDI, STROZZI, MARINI...
Si dolce è il tormento: o Seicento italiano
SANTIAGO DE COMPOSTELA (Teatro Principal)
venres, 22 de xullo de 2011. 20:00 h.

off stellae
MAGDALENA KOZENA MEZZOSOPRANO
XAVI SABATA CONTRATENOR
ORQUESTRA BARROCA DE VENECIA
ANDREA MARCON DIRECTOR
LN RIPLEY DJ
DAVIDE LIVERMORE DIRECCIÓN ARTÍSTICA E DE ESCENA
Disco Barroco 2011: se Vivaldi e Haendel volvesen levantar a cabeza...
SANTIAGO DE COMPOSTELA (Sala Capitol (apertura de portas 22,30)
venres, 22 de xullo de 2011. 23:00 h.


J.J. Ponce in ABC.es - 19.07.2011:

Kozena clausura el Via Stellae

...
Bajo el título Si dolce è il tormento: o Seicento italiano y acompañada por la orquesta Venice Baroque Consort, bajo la dirección de Andrea Marcon, la mezzosoprano Magdalena Kozena cerrará la presente edición del Festival Via Stellae. El programa se centra en compositores del seicento italiano —Monteverdi, Merula, Strozzi y Marini, a los que se añade Johann Heinrich Schmelzer— en el que se alternarán intervenciones vocales y orquestales, con piezas como Quel sguardo sdegnosetto, repleto de agilidades vocales, la bellísima canzonetta Si dolce é il tormento de Monteverdi, o la Canzonetta spirituale sopra alla nanna: Hor che’è tempo di dormire de Merula, donde los chelos acompañan a la voz con monocordes sonidos que invitan al sueño del infante, a la que seguirá la Folle è ben chi si crededel mismo compositor.
...


Xunta de Galicia - 24.07.2011:

Máis de 6.500 persoas asistiron aos 14 concertos do Festival Via Stellae, cunha media de cobertura de aforo do 95 por cento

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ou a noite de clausura protagonizada pola mezzosoprano Magdalena Kozena, unha das estrelas da lírica dos nosos días, tamén rexistraron un cheo absoluto.
...
Co director de escena italiano Davide Livermore como mestre de cerimonias, actuaron a mezzosoprano Magdalena Kozena, o contratenor Xavi Sabata, a Orquestra Barroca de Venecia e os membros do grupo de DJs e música electrónica italiano LN Ripley.
...



In part II I'll add reviews from the excellent tour with Andrea Marcon and the Venice Baroque Orchestra.

Michael