Missa Solemnis: Beethoven with Sir Colin Davis and the LSO

"Even as I apologize for my bad handwriting, I ask God to pour his blessings richly on Yr Highness' head. Your new career, which is so concerned with the love of humankind, is surely one of the finest [schönsten], and Yr Highness is sure to be one of the finest examples--in secular or spiritual affairs--in it." --Beethoven writing to the Archduke Rudolph, 3 March 1819.

In preparing for Friday night's concert with the London Symphony Orchestra, I read about the work's genesis (Beethoven was a writer of surprisingly entertaining letters,) happily cycled through recordings, and dutifully consulted the Cambridge handbook. Then I went, and lost myself in sound: sound solemn and exultant, earthy and sublime, reconciling those apparent dichotomies in a way unmistakably Beethoven's own. This was my first time hearing the LSO live, and I was impressed by their clean, full sound and by the grace with which details emerged from the whole. The orchestra seemed keenly attuned to Davis' impassioned conducting. Despite very deliberate tempi, the energy of the piece never flagged. The contrasts built by Beethoven between the movements, and even between sections of movements, were emphasized, but these contrasting parts came together to form a magnificently coherent whole.

Höheres gilt es als Zeitvertreib

Kaiser and Fleming; (c) Ken Howard/Metropolitan Opera

Wort oder Ton? Ton und Wort... The Met's elegant Capriccio helped me understand better how Richard Strauss' last opera could be both a concatenation of playful jokes about the operatic genre, with heavy helpings of Straussian irony, and a thoughtful exploration of some of the unresolved (unresolvable?) questions of how opera--and all art--moves us, and why.  In the hands of an accomplished cast, the conversation in this conversation piece seemed both witty and genuinely-felt, rather than merely self-absorbed (this was a problem I had while merely reading the libretto and listening to recordings, I admit. And yes, I realize how funny it is that that should be the case with this particular opera.)  I may never become a devotee of Renee Fleming, but I think she's at her best in Strauss, and her diva-charisma was of not insignificant importance to creating a credible Madeleine.  Those in the countess's orbit ranged from creditable to excitingly good, so I had a lovely night, though I never experienced the quasi-mystical emotional release Madeleine extols.