Lmst

Così fan tutte… e tutti – con tutti! Mozarts „La scuola degli amanti“ an der Oper Graz
Elena Deinhammer
[caption id="attachment_30111" align="alignleft" width="300"] Oper Graz/COSI FAN TUTTE/Nikita Ivasechko, Sofia Vinnik, Corina Koller, Ted Black/Foto: Oper Graz-Reinhard Winkler[/caption]

Liest man die Handlung zu „Così fan tutte“, scheint es auf den ersten Blick ein nicht besonders tiefgründiges Werk zu sein, sondern eher das, was, leicht abwertend, als typische Opernhandlung bezeichnet werden könnte: Zwei vermeintlich perfekte Paare, herausgefordert durch einen skeptischen Unruhestifter, lassen sich auf eine Probe ihrer Treue ein, die mit Verkleidung und Verwechslung beginnt, dann aber zu echten Verwirrungen der Gefühle führt, bevor sich letztendlich doch alles in fröhlicher Harmonie auflöst. Dass dem Werk damit mehr als unrecht getan wäre, zeigt aber schon die Beachtung der Musik, die keinesfalls oberflächlich, sondern zutiefst emotionsgeladen ist und dabei dennoch den typisch Mozart’schen Esprit versprüht. An der Oper Graz kam jedoch nicht nur die musikalische Seite von „Così fan tutte“ mit Verve und Tiefgang gleichermaßen zum Klingen, auch die Inszenierung von Barbara-David Brüesch schafft es mit Sinn für den nötigen Witz, aber auch der Aufmerksamkeit auf zentrale Fragen des Lebens und Liebens, die Geschichte in heutiger Gestalt, aber mit zeitlosen Grundsatzproblemen erscheinen zu lassen. (Rezension der besuchten Vorstellung am 9. März 2025) […]

https://opernmagazin.de/cosi-fan-tutte-e-tutti-con-tutti-mozarts-la-scuola-degli-amanti-an-der-oper-graz/

Yesterday I once again headed off after work into Dublin by train to attend a concert by the National Symphony Orchestra this time under the direction of guest conductor Dinis Sousa (whose name is new to me). The programme consisted of two very familiar works, Grieg’s Piano Concerto in A Minor by Grieg and Elgar’s Enigma Variations by Elgar.

To start with, however, we heard a very interesting short piece by Anna Clyne called Masquerade which I enjoyed very much. This is only about five minutes long in performance, but full of energy and dynamics, and was a very suitable appetizer for the courses to follow.

The soloist for the Grieg Piano Concerto was Louis Schwizgebel who played it very well indeed. His articulation was crisp where necessary but also flowing when called for in the more romantic sections. The performance was very well received by the audience and by me. Actually I think that was the best performance of this work that I’ve heard live. Incidentally, I’m told the piano on which he performed was a brand new Steinway. Also incidentally, Edvard Grieg was only 24 when he wrote this piece.

During the second movement a member of the viola section of the orchestra had to leave the stage. I don’t know if she had broken a string or was just feeling unwell. I suppose both of these most happen from time to time in concerts, but I’d never seen it before. Thankfully she was back for the second half.

The Enigma Variations is another piece that is performed quite frequently. I’m not a huge fan of Elgar but this work definitely has its moments and I think anyone who doesn’t find Variation IX (“Nimrod”) uplifting must have something wrong with them. That said, that part is often played too slowly for my taste and can sound funereal rather than inspirational. Anyway, I hadn’t heard this in live performance for a long time so it was very pleasant to hear it again. I had forgotten that there is an organ part to this, actually, and it was good to hear the splendid NCH instrument used especially in the finale.

Overall it was a short (just 66 minutes playing time) but enjoyable concert. I’ll certainly be looking out for Louis Schwizgebel’s name on recordings in future as I think he is a fine soloist.

https://telescoper.blog/2024/10/05/grieg-and-elgar-at-the-national-concert-hall/

#classicalMusic #DinisSousa #edvardGrieg #EdwardElgar #EdwardGrieg #EnigmaVariations #music #NationalConcertHall #NationalSymphonyOrchestra #Piano #PianoConcertoInAMinor