It is always a good time to hear the winter trip who composed Schubert in his last stage as a composer. And it's now, when sensitivity exceeds normal levels, when we are more exposed to the musical and dramatic intensity of a composition like this.
Schubert had decided not to associate with the aristocracy that would have recognized and valued his works. I had 31 years, he was sick with syphilis, no family and no success. He lived on the charity and hospitality of the few friends he had left. It is in that moment of absolute helplessness, when he is forced to write Winterreise. 24 lugubrious and desperate songs, as the Schubert of those moments should be.
Winterreise is an extraordinary and homogeneous set of songs that tells a continuous story with a single character as the protagonist. Not for this reason it should be thought that they cannot be interpreted independently, as it happens with Good night O The linden tree. The poems of Wilhelm Müler, the shoemaker's son, were chosen by the composer to put the music that most accurately described loneliness and hopelessness. That which he himself felt. Some poems that were always the greatest stimulus and source of inspiration for Schubert.
This has been the second of the three recitals of the Cycle that Florian Boesch will offer this year as a resident artist. In their interpretations, the german baritone always puts all the depth charge in the speech, in the word. Leaving all the interpretative force in the texts. Declaims naturally, no frills or hype. The result is only a product of the emotions of a Boesch contained a few times, and shaken to anger at other times.
However, it was not a recital in which magic and trance took over the theater, as on other occasions. There were routine moments, maybe the connection between singer and accompanist were not always full. Justus Zeyen he has us accustomed to extraordinary moments in his already numerous interventions in this theater. But this time I lacked balance in that binomial in some moments. In the next recital of the 14 of June, we will listen to Boesch again, this time accompanied on piano by Malcolm Martineau, who analyzes and accompanies the interpretive sensitivity of German like nobody else and who should have accompanied him on this occasion.
moment, and even if time changes or new adaptations have to be made due to the pandemic, We will continue to attend and celebrate these pleasures that project us to the reality that we want and that will come.
Photograph: (c) Rafa Martin