Music by Johannes Brahms (1833-1897)
Premiere : Gewandhaus, Leipzig, 18 february 1869
One of the first actions taken by the new management of the Opéra de Monte-Carlo was to introduce a series of concerts designed to enhance the repertoire of the Opera’s choir and reveal to the public the full scope of its abilities. Following Rossini’s Stabat Mater earlier this year and Verdi’s Requiem at the beginning of this season, it is the turn of Johannes Brahms’ German Requiem to be presented in this new series. Between 1856 and 1868 the composer had been deeply affected by the death of two loved ones: Robert Schumann, his mentor, and the death of his own mother. His grief inspired him to create what was to become his passport to glory. Premiered in 1869, this sacred but non-liturgical work opened to him the world of symphonic music, a universe that, until then, he had hesitated to approach. Although Brahms failed with his intention to write an ecumenical work, its humanist character tran-spires through its inspired writing, vibrating with inward rather than ostentatious feeling. A German Requiem, half Baroque funeral cantata in its form and half Romantic oratorio in its scale, is the perfect choice to allow the Musiciens du Prince – Monaco, directed by Gianluca Capuano, to fully restore the sound of that period through their sensitive approach to the music of the 19th century.
LES MUSICIENS DU PRINCE – MONACO
Simon Keenlyside
What are the challenges of singing in a foreign language?
These depend upon the degree to which one can speak the language, really. You should at least have opened a “window” into that culture and history because words too have weight and tradition, particularly in poetry. It is true that a good student can learn to sing a song or an opera in a language that he or she cannot speak. The problem is that the performance is very likely to be always the same: it can be really good but it will remain preserved and unchanging. Once a singer learns to speak and have a deeper familiarity in a language, he will be natural and free to make changes in inflection and nuance – the true chiaroscuro of all languages. That will take time and a passion for the artform, I think. It is beautiful work, but hard work.
Do you see any stylistic or other differences between the writing of the Requiem and the profusion of songs that Brahms wrote?
Apart from a tendency for very long phrases, requiring a great deal of breath control? That is definitely a feature of many of Brahms songs. This aside, I see no differences. The genius of his marriage of text and melodic line is common to both.
Do you think Brahms would have made a great opera composer?
Despite his towering genius and showing a certain interest in writing one during some decades of his long life, he never actually realised such a project. Perhaps there is your answer.
Do you approach your concert repertoire differently from your operatic roles?
For me they are just the same. The dynamics may be different, the weight of body language more in one than in the other, but I try to bring them off the page as best I can and to serve my Masters’ intentions.
How do you divide your working life between opera, concert and recitals?
I attempt to sing what I really want to sing. And to fight for enough personal time away from music: interests, hobbies and family… one would need 150 years of life… In the words of the song, “something’s gotta give”. Mostly I do two thirds opera, one third recitals. I do not do many concerts though, and I do not spend enough time with my hobbies either!