![\"Prinzregententheater](\"http:\/\/www.musicalamerica.com\/mablogs\/wp-content\/uploads\/2016\/03\/bogdahnPRT.jpg\")
<\/p>\n<\/p>\n
By ANDREW POWELL MUNICH \u2014 It would be a novelty to hear Le vin herb\u00e9<\/em> the way composer Frank Martin conceived it. The 1940 secular chamber oratorio reportedly soars when realized in concert by twelve French-singing voices, double string trio, double bass and piano \u2014 its lean forces yet complex harmony producing intriguing shafts of color; its drama predicated on shuffling the voices, used one-to-a-part and as a chorus. But a listener could wait decades for the chance. When Martin\u2019s 100-minute Tristan et Iseut<\/em> saga shows up at all, it has either morphed into an opera (Katie Mitchell\u2019s realist concept for Berlin as example) or, more often, been puffed up for standard choral forces. This was its fate in a Bayerischer Rundfunk<\/a> outing Jan. 23 here at the Prinz-Regenten-Theater, a missed opportunity given the broadcaster\u2019s resources and artistic umbrella.<\/p>\n BR Chor<\/a> artistic leader Peter Dijkstra<\/a> kept Martin\u2019s instrumentation but fielded 38 singers, blocking entry to the planned sound world and permitting only sporadic drama. Martin\u2019s varied commentaries took on a sameness, so that for instance no urgency accompanied the waking of Gorvenal and the \u201clast night-flight through the beloved woods.\u201d Still, tenor Marcel Reijans<\/a>\u2019 keen and heroic Tristan injected vitality, and with good French. In support: soprano Johanna Winkel<\/a>\u2019s sensitive Iseut, soprano Barbara Fleckenstein<\/a>\u2019s clearly worried Branghien, and the unruffled, oaky Marc of baritone Andreas Burkhart<\/a>. Refined choral contributions only emphasized what was amiss texturally, despite peppy punctuation from members of the Symphonie-Orchester des Bayerischen Rundfunks, and Dijkstra\u2019s conducting brought out the intriguing harmonies at reverential speeds.<\/p>\n This project should have benefitted from the intervention of Mariss Jansons in his supposed joint<\/em> capacity as chief conductor of the BR Chor and the BRSO, to ensure forces were cast in line with Martin\u2019s wishes and to properly serve the broadcaster\u2019s listeners. The charismatic Dutchman, meanwhile, is closing out his 11-year BR Chor tenure. He has not been the most imaginative musician in Romantic and Modern works, but Bach he conducts naturally and lyrically. His St Matthew Passion<\/em> three years ago<\/a> deserved its plaudits, and his St John Passion<\/em>, with the mellifluous Kuwaiti bass Tareq Nazmi<\/a> as Jesus, has just appeared in a neatly documented BR Klassik CD set<\/a>. Dijkstra\u2019s farewell actually comes soon, with the B-Minor Mass here and in Baden-Baden, Nuremberg and Ingolstadt. Replacing him in September will be British conductor Howard Arman<\/a>, while Jansons remains chief conductor, for what that is worth. As for Le vin herb\u00e9<\/em>, Victor Desarzens\u2019 1961 recording<\/a> with Eric Tappy as Tristan and Frank Martin at the piano (on the Westminster label) provides an authentic path through the score.<\/p>\n Photo (modified) \u00a9 Martina Bogdahn for BR<\/p>\n Related posts:
Published: March 18, 2016<\/span><\/p>\n
\nBR Chor\u2019s St Matthew Passion<\/a>
\nBR Chor\u2019s Humorless Rossini<\/a>
\nMuti Crowns Charles X<\/a>
\nWith Viotti, MRO Looks Back<\/a>
\nVolodos the German Romantic<\/a><\/p>\n