Julius Drake, Krzysztof Chorzelski and Mark Padmore contributed their notable gifts of piano, viola and voice respectively in a very special, often heartfelt fundraising evening for two music education charities.
Dame Sarah Connolly and Julius Drake savour the al fresco surrounds of the Villa Foce to produce a delightful evening of eclectic music in four languages. Delizioso!
Part of Lincoln Center’s Great Performers series, Matthew Polenzani's programme impressed. Beginning with Beethoven, he made his way from German to French by way of Liszt, then carried on with Satie and Ravel, and finally wound down the concert with a set of Samuel Barber songs and some lovely encores.
To really, fully throw yourself into the chilly despair of January’s bitterest blues, you can’t beat an icy, bare-souled stroll through Schubert’s Winterreise. Here it was in the hands of Gerald Finley and Julius Drake at Wigmore Hall.
There are few London venues that manage to combine a real sense of intimacy with an international roster of artists quite as well as Julius Drake’s concert series at Middle Temple Hall. In this recital he was joined by German soprano Annette Dasch for a programme that began with a complete performance of Schumann’s Kerner Lieder.
Twentysomething Philippe Sly wields an impressive voice. Like the mythical John Henry’s hammer, it rings like silver in the upper register, the middle shines like gold, and his bass is firm as iron. From the second line of Henri Duparc’s “Chanson Triste” Sly interested with his way of rolling out phrases, englobing lines in cavernous spaces.
By adding Schubert’s Winterresie to her repertoire Alice Coote joins a long tradition of female interpreters including the likes of Christine Schäfer and her own mentor Brigitte Fassbaender. In this performance of Schubert’s great song cycle, however, it was the piano playing of Julius Drake, rather than Coote’s singing, which penetrated to the heart of the work.
Celebrating Britten’s centenary, tonight’s performance of his five canticles seemed particularly fitting. Written throughout his composing career, they are a testament to the composer’s affinity for poetry and skill at writing with particular performers in mind, and they provide an intimate commentary on Britten’s large-scale works.
Drawing names such as Sarah Connolly and Dame Felicity Lott to the dreaming spires, the Oxford Lieder Festival has defined itself as a leading musical exponent on an international level. It was fitting, then, that Alice Coote and Julius Drake should open the final weekend of the eleventh festival.
Tenor Ian Bostridge and pianist Julius Drake presented a stunning program of Lieder by Robert Schumann (1810-1856) and his protégé Johannes Brahms (1833-1897) on 7 March at the Perelman Theater of the Kimmel Center, as part of the Philadelphia Chamber Music Society’s fine series. The small hall, nearly full, lent itself perfectly to the intimate performance of Lieder.
Back in London after a sell-out US tour, English tenor Ian Bostridge CBE, with his wonderful pianist Julius Drake, proved his extraordinary range and versatility as a singer with a programme featuring music by Tippett, Britten, Bach, Haydn and Weill. This special concert had an extra resonance, as it marked Sir John Tusa’s last day as Chairman of the Wigmore Hall Trust.
Mezzo-soprano Katarina Karneus made a most welcome return to the Wigmore Hall, stylishly accompanied by her frequent collaborator Julius Drake, and offered a persuasive programme of Scandinavian songs.Winner of the Cardiff Singer of the World Competition way back in 1995, Karneus - it is pleasing and perhaps surprising to report - is now vocally and artistically in her prime.
The programme had been changed. No Montsalvatge, but this gave space for a lovely performance of Grieg's varied and characterful Haugtussa (Maid of the Mountain) cycle. Both performers had clearly worked at it intently, and took us with great authority through its twists and turns. The Larsson songs must be some of the strangest lyrics ever set.
Avec un tel programme, Ian Bostridge est au cœur de sa zone de confort – et d’excellence – et pourtant, il parvient à aborder ce répertoire sous un angle singulier, aux résonances très actuelles.
Certainement ne manquait-il qu’une adhésion commune, une complicité partagée malgré les efforts et les tentatives des trois artistes. La magie n’était définitivement pas au rendez-vous cette après-midi…
