History in the making in 2023 – Alban Berg’s opera “Wozzeck” performed “live” for the first time in New Zealand

Posted on by Peter Mechen

Orchestra Wellington presents:

RED MOON – Alban Berg’s opera “Wozzeck” (1925) arr. Eberhard Kloke

Cast: Wozzeck – Julien Van Mallaerts
Marie – Madeleine Pierard
Captain – Corey Bix
Drum Major – Jason Collins
Doctor – Paul Whelan
Andres – Alex Lewis
Margret – Margaret Medlyn
First Apprentice – Robert Tucker
Second Apprentice – Patrick Shanahan
Soldier – Richard Taylor
Idiot – Corey Bix
Marie’s Child – Ivan Reid

The Tudor Consort (Music Director – Michael Stewart)
Schola Cantorum of St Mark’s School ( Music Director – Anya Nazaruk)
Orchestra Wellington
Marc Taddei (Music Director)

Director – Jacqueline Coats
Stage Manager – Janina Panizza
Lighting Design – Daniel Wilson

Michael Fowler Centre, Wellington

Saturday, 11th November, 2023

It’s the stuff this country’s musical legends are made of, joining occasions notable for their uniqueness such as (off the top of my head) Igor Stravinsky’s conducting of the then NZBC Symphony in 1961, the first-ever “at home” performance of Wagner’s “Die Meistersinger” at the 1990 Wellington International Arts Festival, Michael Houstoun’s ground-breakingly-complete cycle in 1993 of the Beethoven Piano Sonatas, and the first all-New Zealand cast performance of a Wagner opera, Parsifal, in 2006 in Wellington – readers with longer and/or sharper memories than mine will doubtless construct their own “pantheon “ of legendary home-grown occasions to which this one might well be added.

I’m referring by association to the incredible achievement of all the people involved with Saturday evening’s performance in Wellington’s Michael Fowler Centre of Alban Berg’s opera “Wozzeck”, a work which had its own first performance in 1925 in Berlin, and has thus taken almost a hundred years to get to these shores and be performed “live”.  But that’s just what Marc Taddei, Orchestra Wellington, the singers and the associated creative team managed to finally “bring off” – and, to add appropriate lustre to the occasion, with the confidence and surety that gave the presentation the kind of elan and brilliance that took one’s breath away! Though it was one might call a “semi-staged” production, and the deployment of the singers might, in my opinion, have on occasions been differently undertaken to the work’s greater advantage, the sheer commitment, verve and aplomb of the singing and playing never faltered throughout the entire evening, as evidenced by the sustained applause at the work’s end.

Conductor Marc Taddei in his pre-performance talk earlier in the evening characterised the performance of “Wozzeck” as the culmination of Orchestra Wellington’s 2023 season of works which had been “looking to opera for increased representation of the “human” spirit”, and finding at the end an opera which presents that very spirit in totally unvarnished form – it “lays bare the lie that the poor can simply get on with their lives and survive”, though Berg himself was adamant that “what happened to Wozzeck can happen to anyone who is subjugated by others and cannot defend himself”. In this opera there’s no institutionalised or miraculously-produced “force for good” which speaks up for Wozzeck, alerting us to the uncomfortable fact that it will have to be us, the audience members, who will need to do so, to look at the tougher parts of life and not look away. As one commentator wrote of the character of Wozzeck – he is “a metaphor for one of the opera’s fundamental concerns – the generative, toxic force of societal humiliation”……

Jacqueline Coats’s production here put the performers together on the normal orchestral platform of the Michael Fowler Centre, giving each of the singers a degree of  elevation in their scenes but keeping them largely behind the orchestra. This certainly directed one’s focus onto the opera’s music rather more than its stage action – something that I didn’t object to in principle, it being semi-staged anyway – but here it had the disadvantage of distancing each singer’s character from the audience, both physically and vocally, the faces and figures of the singers feeling somewhat “removed” from us, and the voices having to cut through from the rear the sometimes crowded acoustic sound-picture taken up by the orchestra.

It wasn’t until Act Two’s Scene Four (the dance-scene in the beer garden), that the Two Apprentices and Wozzeck were brought forward, almost to the front of the stage, the Apprentices with their “brandy wine” verses, and Wozzeck’s bitterly-voiced condemnation of his wife Marie’s dancing with the handsome Drum-Major – suddenly, what a difference to the immediacy of the characters before us this closeness made! In the following scene in the Soldiers’ barracks the sleepers were arrayed again out the front on the floor, which surely should have been where the Drum-Major’s and Wozzeck’s confrontation took place – but they were returned to behind the orchestra once again. Both voices could clearly be heard, but if only they had been closer to give us more of the physical flavour of their set-to! True, the singers acted primarily with their voices rather than gesture and movement, but simply their closer physical proximity would have brought more of the characters’ salient defining features into focus, advancing the story’s theatricality and impact.

If I seem to be making too much of this “placement” of the singers, I should emphasise all the more that all of the voices had sufficient strength to properly sound their words from wherever they were placed – so while it often looked more oratorio-like than operatic in terms of stage action, it was all well-served by both voices and instruments as regards the work’s musical values. And as we had briefly but tellingly observed with Orchestra Wellington’s recent foray into the music of one of Berg’s contemporaries Anton Webern, Marc Taddei and his players seemed to revel in the complexities and varieties of the composer’s scoring, unflinchingly addressing the expressive power of countless moments in the work, examples being the two horrifying orchestral crescendi following Marie’s murder by Wozzeck, and the naked anguish of the full orchestra’s final interlude separating  Wozzeck’s drowning from the children bringing news of Marie’s death to her child, who in a wrenching moment of bathos concludes the opera by continuing to ride his hobby-horse (these and other moments seeming to lose nothing of their power in arranger Eberhard Kloke’s judicious score reductions). But in addition, all of these things were set in stark contrast to the opera’s manifold beauties and delicacies of scoring in places, stressing the piteous aspect of the work’s tragedy  – for example, the beautiful sonorities of the string and brass playing echoing Wozzeck’s fearful rant while in the fields, with his  “Ein Feuer! – Ein Feuer” outburst; and again when accompanying his friend Andres’s tender concern as the latter led his disconsolate friend away to home. Conductor Marc Taddei’s wondrous grasp of the ebb and flow of these disarming contrasts and his players’ ability to deliver the full range and force of their extremes made in itself an unforgettable impression.

Just as astonishing were the performances of all of the singers, triumphing over their at times awkward stage placements with what seemed like the utmost commitment and confidence. In the title role, Julien van Mellaerts laid bare the both the quiet desperation and the frightening hallucinatory torment of the poor soldier, his piteous attempts at explaining his situation falling on deaf ears all about him, undermining his relationship with his wife Marie and driving his desperation to an abyss of madness. He conveyed so many telling vocal contrasts in places such as between his first-scene phrase “It must be fine indeed to be virtuous”, and the following cry “If we should go to heaven we shall be thunder-makers!” – again, I thought his all-too-brief front-of-stage moments in the Act Two dance scene after he witnessed Marie’s consorting with his rival, the Drum-Major, straightaway conveyed by dint of his immediacy more of the sense of a theatrical character, something his performance as a whole deserved to be allowed to generate more often. Alex Lewis as Wozzeck’s more straightforward friend and fellow-soldier Andres consistently used his fine voice freshly and lyrically, such as in his attempts to distract his friend from his disturbing hallucinations when together in the fields, and in the Act Two dance-hall scene with his guitar-accompanied ballade.

In the very opening scene we relished Corex Bix’s Captain conveying all of his character’s patronising and judgemental sanctimony in his attitude to Wozzeck, the latter becoming both the vehicle for and object of his superior’s derision, a default setting which stretched like a spider’s web over most of the drama. In addition, he ably brought to life the small but significant part of the Idiot at the dance who tells Wozzeck that he “smells blood” as Marie and the Drum Major are flagrantly dancing, while the drunken Apprentices (Robert Tucker and Patrick Shanahan in turn, sounding nicely unbuttoned and with alcohol having unloosened their tongues, to risible effect) are philosophising on the nature of human existence.

As Wozzeck’s ill-fated wife Marie, Madeleine Pierard conveyed a splendidly rich and tangible vocal presence, her voice easily riding atop the orchestral textures, and relishing the score’s tenderer moments with her (here invisible) child in places like her Act One Scene Three “Lullaby” song “Hansel, spann Deine sechs Schimmel an….” , so very beautifully accompanied by the orchestra’s  tuned percussion, and also in her gloriously guilt-ridden “jewel song” (her feelings underlined by lurid stage lighting) when considering the Drum Major’s gift to her of a pair of earrings. Though she wasn’t ever brought to the front of the stage during the production, her interactions with various other characters, such as her neighbour Margret, and the Drum Major, not to mention Wozzeck himself, were admirably conveyed by vocal means, even if we missed the dramatic impacts of more tangible physical gesturings in places such as her tryst with the Drum Major – it was left to the orchestra to express all too graphically the paroxysms of desire and lustful action between the characters.

As Margret, one of Marie’s neighbours well aware of what was going on and constantly at logger-heads with Marie, Margaret Medlyn (who had previously played Marie’s character in an Australian production some years ago) made a suitably inquisitive and self-righteous-sounding bystander, both in the street when watching the Drum Major passing with his band, and at the second dance scene in Act Three. Though essentially one-dimensional a character, Jason Collins’s libidinous Drum Major readily conveyed his character’s concupiscent appetites and brutal nature by dint of his boastful, vainglorious tones and gestures, his word-made-flesh moment being the beating he gave the unfortunate Wozzeck in the soldier’s barracks at the end of Act Two.

Another authoritative symbol of Wozzeck’s oppression was the figure of the Doctor (assertively and sonorously  portrayed by Paul Whelan), with whom Wozzeck had entered a kind of arrangement involving various idiosyncratic medical theories which the Doctor tests by using Wozzeck as a kind of guinea-pig, and for which he pays the latter a mere pittance. Though not an actual physical assault, perhaps the opera’s most mean-spirited act of humiliation inflicted upon Wozzeck was perpetrated by both the Captain and the Doctor together, meeting Wozzeck out on the street and callously insinuating to him the gossip involving Marie’s infidelities with the Drum-Major, leaving him distraught and undone at the realisation of his wife’s betrayal.

The opera delineates processes by which human capacity for suffering can reach destructive limits through unrelieved and often institutionalised neglect and abuse – Wozzeck’s tragedy is his victimisation through such processes, giving him insufficient means of escape from such a descent and from such a place. Besides its individualisation such processes can have effects which are both transmittable and hereditary – though Marie’s murder is shocking, just as disturbing and piteous are Wozzeck’s visions and phobias which took him to such a murderous state. Also just as disturbing is the opera’s final scene, in which Marie’s and Wozzeck’s child is confronted with the news from his playmates of his mother’s death (and later, by extrapolation his father’s death by drowning at the same time) – to which the boy’s response is to repeat a simple playground chant as he rides his hobby-horse off somewhere – a moment’s stunned silence after the child leaves brought home to us the idea that the child now has no-one to take care of him, his parents having been obliterated in a suitably shocking manner, and he is left in a world which has demonstrated over the past hour and a half of operatic presentation little or no sign of caring, and left us with the realisation that unless we care about such things nothing of the kind will change.

After that “moment” there was heartfelt and sustained applause for all concerned, with the reaction continuing afterwards with talk into the night as to what it had all meant, a removal from our (well, for most of us!) normal experience and an immersion into the stuff of nightmares resulting in desolation and despair – and all rounded off with a repeated childlike cadence that bleakly commented on existence emptied-out of hope and redemption. What a work, and what an experience for us all!…….

 

 

Helen Moulder’s and Sue Rider’s Bicycle – a conveyance par excellence at Circa

Posted on by Peter Mechen

The Bicycle and the Butcher’s Daughter

A play (2020) by Sue Rider and Helen Moulder

Helen Moulder – (Olivia, Harry, Jennifer, Lexi and Grace)

Directed by Sue Rider
Stage Manager / Operator – Deb McGuire/Xanthe Curtain
Lighting Design – Giles Burton
Graphic Design – Rose Miller
Music (Beethoven Violin Sonatas No. 5 “Spring” and No. 9 “Kreutzer”)
– recorded by Juliet Ayre (violin) and Richard Mapp (piano)

Circa Theatre Two, Taranaki St., Wellington

Wednesday, Ist November 2023

Helen Moulder’s and Sue Rider’s play “The Bicycle and the Butcher’s Daughter” is the most recent of four shows created by the pair, beginning with the uniquely special “Meeting Karpovsky” of 2002, which appeared in collaboration with the late, great New Zealand dancer Sir Jon Trimmer. This latest show first took the stage in 2020 amidst the Covid-19 epidemic, a circumstance which caused the play’s ending to be rewritten to reflect the state of things the world had come to and its effect upon the play’s characters. “The Bicycle and the Butcher’s Daughter” captures a funny, idiosyncratic, poignant, outrageous and heart-rending amalgam of personalities all, in the space of an hour-and-a-quarter, constituting the modus operandi of a single family

In achieving this during a solo performance onstage Helen Moulder is a veritable colossus, one that variously shaped-shifts and freeze-frames by turns five characters, who in the course of their tantalising circumstances and interactions present to us each of their ineffably individual view of “things” as they pursue their goals, ideals and priorities, and face up to their outcomes. Moulder moves between this plethora of ambitions, interactions and consequences with breathtaking ease and surety, taking us with her on this sometimes whirlwind, sometimes painstakingly detailed journey with all the confidence and bravado of a tour guide who’s both in love with and exasperated by her subject.

She has a few companions accompanying her journey – an iconic coat-rail containing the play’s wardrobe, an articulate office chair, and a folding bike whose initially mute and ingloriously dismantled presence gives it a kind of potentially Promethean aspect. But there’s also Beethoven in attendance, via two of his best-known violin-and-piano sonatas, the “Kreutzer” and the “Spring” (which certain family members, we learn, were involved with recording – the excerpts HERE recorded and played superbly by Kiwi musicians, violinist Juliet Ayre and pianist Richard Mapp), and with each of the scene-changes, while relaxedly and naturally moved through, are supercharged in their psychological impact by the composer’s “every note counts” set of impulses.

Moulder presents a proudly home-grown family company, Paterson’s Meats, going through its paces – we’re first introduced to Olivia Paterson, who’s now CEO of the firm after her Dad’s retirement, very much in control of things, dealing, at the flick of a wristband switch, via the latest up-to-date communication technology, with international customers, tradespeople and other family members, exemplifying the firm’s motto “On ya feet with Paterson’s meat” with plans to help bring relief to a hungry world. We get the “complete executive” image with on-the-spot te reo Maori in everyday greetings and the occasional phrase in Mandarin when dealing with the Chinese customers, and poise and grace the whole while which don’t falter, even in the face of adversity brought on by various factors such as a recalcitrant family, Covid-19 and fake media news (rumours of a Pukeko Pie takeover!).

Olivia’s Dad is 96 year-old Sir Harold Paterson, retired and living in Palmerston North, whose character Moulder slips into as if it were a glove, asserting from the outset that he had started out “just wanting to feed Palmerston North!”, and gobsmacked at the recent news item suggesting that Patersons “export Pukeko Pies to China!” Though worried about his company (“I never wanted Patersons to get this big…”) and his other family members, Harry takes refuge in his own philosophy in accord with the tuis who visit his garden – “My own personal tui – what more can I ask? – out here making my peace with God. And with myself.”

Olivia’s sister is Jennifer, a “living the dream” would-be-art-gallery owner whose opening in Featherston Street is being plagued by plumbing issues – the name “The Eleventh-Hour Gallery” is a nice risible touch! – she’s in perpetual warfare with her executive sister, and in a moment of what seems like subconscious revenge drops the rumour concerning the Paterson Meats’ “Pukeko Pies” export deal into the clutches of a nosey journalist! Moulder’s nicely-modulated portrayal of manifold sisterly difference between Jennifer and Olivia is, however, a model of circumspection compared to her full-frontal, up close and personal cameo of Lexi (Alexandra), who’s Olivia’s and her late husband Nick’s daughter – we’ve already heard that Lexi is a musician, a pianist, but currently pursuing a career as a stand-up comedian, and now we experience her in action as the latter – no holds barred! – her routine is the opening of her comedy gig in which she eats a banana, then confronts all of us, full on! – asking us to raise our hands if we are meat-eaters, then telling us how much she hates us – “Eating meat is plain fuckin’ wrong – why don’t you get it?….” then describing herself as “a cross between a Greek god (her father) with a long, white cloud (her Kiwi mother)……a fuckin’ tropical cyclone!…” and then, having introduced herself, returns to the attack with tirade after tirade against “fuckin’ carnists!” pouring scorn upon vegetarians as well! Moulder sounds here as if she’d received plenty of standup comic training from open mic nights, totally relaxed and confident and in control right throughout the routine – and utterly committed! Impressive stuff!!

On the other side of the characterisation ledger is eleven year-old Grace, whose “out of the mouths of babes” address to us was akin to being visited by an angelic presence, redolent in her own definitions of her name being “kindness” and “being thankful”. There are touches of all kinds of qualities here, which at once inhabit and transcend day-to-day existence, our “angel” touched by tragedy in her disclosure to us of having a kind of blood cancer, while concentrating on the here and now of what was important to her, which was riding her bike, and, of course, in an unlooked for encounter alluded to by Olivia near the play’s end, giving help and encouragement to “a lady who was trying to ride a bike”, and, as the final scene in the play attests, succeeding!

Throughout all of these characterisations and their interactions, I found myself drawn into each and every one of the scenarios and engaged by what were recognisable versions of the truths and sympathies and inclinations of all the people involved – we were told who these people were and invited to recognise aspects of ourselves for our enjoyment as well as our advantage. It’s the kind of thing that, in my humble opinion, deserves to become a classic. Very great credit to Helen Moulder and Sue Rider for their efforts in both creating and breathing life into this particular shared journey.

The Bicycle & the Butcher’s Daughter. Directed by Sue Rider and starring Helen Moulder. Circa Two, to November 11.

Robert Wiremu’s REIMAGINING MOZART – a mind-enlarging expression of human tragedy in music

Posted on by Peter Mechen

Robert Wiremu’s REIMAGINING MOZART
(dedicated to Helen Acheson)

Presented by Chamber Music New Zealand

Karanga to the Composer – Melissa Absolum (Voices Chamber Choir)
Composer – Robert Wiremu
Instrumental Ensemble – Liu-Yi Retallick. Joelia Pinto (violins), Johnny Chang, Helen Lee (violas)
James Bush, Sarah Spence (‘cellos), Eric Renick (vibraphone)
Voices New Zealand Chamber Choir
Music Director – Karen Grylls

St.Mary of the Angels Church, Wellington

3:00pm Sunday, October 29th, 2023

 

Apart from it all having  a superlatives-exhausting effect from a critical point of view, I found as an audience member, composer Robert Wiremu’s “reimagining” of sequences from Mozart’s final work, his “Requiem”, a profoundly engaging and deeply moving experience. It was thus on so many levels, though naturally the presentation exerted its fullest and deepest effect with all things considered – the atmosphere of the venue (the beautiful St.Mary of the Angels Church in Wellington), the cultural merging of ritualistic procedures, European and Maori, the idea of a “requiem” in the presence of karanga (call), kaupapa (matter for discussion) and poroporoaki (leave-taking) relating to and delivered by the composer in relation to  his subject matter, the use of both specific and “re-presented” parts of the Mozart work, both the overall and specific parts of the presentation’s “narrative”, the technical prowess of the performers, the beauty of their singing and playing, and, of course the skills and complete authority of Music Director Karen Grylls. All of these things interacted to present a work whose range and scope was breathtaking, both when experienced in situ and in subsequent resonant reflection.

Earlier this same month (October) Wiremu had outlined in a radio interview certain aspects of the presentation which conveyed a real sense of what we would subsequently hear in its performance – and to the production’s credit the printed programme available at the venue further enabled the listener to clearly follow the general organisation of the work. Wiremu recalled that the idea of using Mozart’s Requiem as a kind of “starting-point” was part of the commission given to him by CMNZ’s chief executive at the time, Gretchen la Roche, and that he was able to then sublimate the kind of universal human grief for the dead in Mozart’s work as a statement focusing on a more specific and immediate tragedy involving this country, the Mt.Erebus plane crash which claimed 257 lives late in 1979.

Wiremu was given certain specific directives regarding the commission. because the piece was going to go “on tour” – his resources were limited accordingly, thus  the use of a chamber choir and a limited-sized instrumental ensemble . Along with a small group of strings Wiremu chose the vibraphone as an ideal instrument of evocation particularly as the thought of the Erebus happening took shape in his mind.  Though he himself remembered the news of the actual incident (he was nine years old at that time), Wiremu decided he would make no reference in the work to any specific person or organisation involved in the incident in any way, his purpose being to emphasise the idea of sorrow and grief in universal human terms of loss connecting the Mozart work and the Erebus disaster. He also resolved that he would not change the actual notes of Mozart’s that he used,  instead adapting different instrumentations from those of the original.

Interestingly Wiremu developed in his mind a tenuous link between Mozart’s work and the Erebus accident via a tape cassette player called a “Walkman” (available in 1979) and the Requiem thereby being recorded on a cassette and becoming part of the event of the plane’s destruction and the deaths of the plane’s occupants – all of which regarding the player and its cassette being pure conjecture on the composer’s part, with no ACTUAL evidence of a tape of any of Mozart’s music on the plane. However Wiremu imagined the notes of the music on the mythical tape carried into and through the same “fractured, scattered, broken, distorted, twisted (and) disfigured” process as all else on the aircraft, and in places the notes are thus subjected to similar kinds of treatment. At the beginning and end of the piece there is birdsong reproduced by the instruments and by the choir members actually whistling some of Mozart’s own notes from the work as they walk to and from their places – in Wiremu’s schema the piece also features a dedication, remembering a singer in the group, Helen Acheson, who was involved with this project but who died earlier this year – this was Mozart’s last completed work, and Wiremu introduces its performance by the choir with 43 bell-notes played by the vibraphone and accompanied by major-minor chordal undulations from the strings, a note for every year of the dedicatee’s all-too-short life.

Each of the seven movements of Robert Wiremu’s  piece was given a Maori name, the opening KARANGA here performed arrestingly and sonorously by alto Melissa Absolum from the Voices New Zealand Chamber Choir, welcoming the composer to the place of performance and inviting him to speak about what we were going to hear this afternoon. Wiremu then greeted us, explaining something of the grieving ethos of human loss in Mozart’s work as being redirected and reimagined to reflect a tragedy in the South Pacific in similarly non-specific terms.

The instrumentalists began the work, creating eerie harmonies from “bowing” the keys on the vibraphone, the sounds of birdsong realised in a variety of ways, from glissando notes on the string instruments to vocalisings (whistlings) from as the singers as they entered down each of the side-aisles and congregatged with the instrumentalists at the front, followed by Music Director Karen Grylls. Amidst these ambiences the strings and vibraphone began the instrumental introduction to the Requiem, joined by the choir, the singing sonorous and clearly-lined, with the Kyrie Eleison fugue gloriously articulated, those treacherously dramatic ascents thrown off with great elan, leading to the powerfully dramatic concluding ELEI-SON!

The opening having captured the growing excitement of the plane nearing Antarctica, the following RERENGA (flight) features the driving rhythms of Confutatis Maledictis depicting the aircraft’s propulsion, with contrasting emotions represented by the interspersed, gentler Voca me cum benedictis from the choir. A culmination came with the ecstatic response of the voices in their great, unaccompanied cries of Sanctus! as the icebergs were glimpsed from the aircraft, along with the breathless exultation of the unaccompanied Hosanna fugue. By contrast the HINGA (descent) which followed used part of the Recordare in a blurred, unclear way as the flight entered a clouded-over unknown world, the strings expressing confused, discordant progressions, with downward glissandi depiction a descent into the gloom. The vibraphone briefly evoked dislocation and confused suspension before the strings plunged the scenario into darkness and confusion, unisons attacking and blurring each other’s lines, the sounds strained, stretched, stressed and tortured until the process gradually abated, the punishing clashes and dissonances drawing  back, and leaving only confused silence – TE KORE, the emptiness, is all that is left…..

Into the silence burst the Dies Irae, here fantastically realised, the lines at once powerful and knife-edged, with both instruments and voices throwing themselves at the notes Mozart wrote! The vibraphone’s sudden interspersed moment of terrible nothingness and emptiness compressed and eventually fractured the Dies Irae utterances, the words broken up into whisperings and single word gesturings, the chant then reduced to ghostly, spectral whisperings of both the Dies Irae and Quantus tremor verses. It is over – there are no survivors of the crash.

In the ensuing silence the vibraphone played the Lacrymosa, joined by the voices only, the strings silent, the voices rising in grief and sorrow and anger – the vibraphone took us to strange tonal realms as if the music was denying its own home key and annihilating its own essence, the voices sounding similarly estranged, with individual notes stuttering and halting, and the vibraphone having to reinvent harmonies for the voices’ melody. As for the choir’s singing of the “Amen” – such a cathartic moment, sounding a kind of run-through realisation of an awful finality.

MUTUNGA stands for completion, here accompanied by anguished string chords and bell-chiming descants from the vibraphone as the chorus sang the Agnus Dei, alternating forthright opening phrases with gentler replying Dona eis Requiem utterances, to which the instruments played a gentle contrapuntal accompaniment. We were led back to the beginning, with strings and bowed vibraphone notes joined by the choir, the plaintive vocal lines turning vigorous as the words Requiem and Dona eis Domine were repeated, all so very wondrously and ardently realised. The awful inevitability of nature’s processings of the tragedy were duly acknowledged by Wiremu as Mozart’s response to the words in the Requiem seek to console all those who suffer the anguish of loss in all its forms.

As if bringing into individual human focus these archetypal processes of grief, Wiremu concluded his work with a Dedication given the title MARAMA (light), with a performance of Mozart’s last “finished” work, his “Ave Verum Corpus”, one integrated into the earlier-expressed, more collective consciousness of tragedy through a kind of “summons” via bell sounds, here given no less than the 43 strokes in commemoration of the life of Helen Acheson, a friend and colleague of Wiremu’s who as previously mentioned died earlier this year. Strings and vibraphone played a contrapuntal accompaniment of some glorious singing from Voices New Zealand under Karen Grylls’ inspirational direction, leaving all of us in no doubt that we had witnessed something unique and special, and to be remembered and appreciated for a long time to come.

Haydn and Mozart Camerata’s perfect fellow-churchgoers at Wellington’s St.Peter’s-0n-Willis

Posted on by Peter Mechen

Camerata presents: HAYDN IN THE CHURCH 2023

Josef HAYDN – Symphony No. 17 in F Major Hob.1.17
Wolfgang MOZART – Sinfonia Concertante in E-flat K.364

Anne Loeser (violin) / Victoria Jaenecke (viola)
Camerata Ensemble

St.Peter’s Church-on-Willis, Wellington

Friday, October 20th, 2023

Sometimes one goes to a concert which by dint of the music and the playing seems  not a moment too short or too long – this evening, with merely two works on the programme (one of which took  less than two thirds of the time of the other), it felt as though we were transported from one to the other by a kind of osmosis, as there was no “proper” interval between the two, merely what felt like a “luftpause” to allow the slightly different arrangement of the two works to be set up.

The programme opened with a Haydn symphony (No.17 in F Major), part of a series that has been a feature of the ensemble’s presentations of late. This was an early work of the composer’s , and not unlike some kind of extended three-part operatic overture in effect – certainly a grand and varied beginning to one’s listening for the evening.

Straightaway I was transported by the openness of the sound during the work’s first few bars, with the horn timbres taking the music al fresco, and the joyfulness of the dancing rhythms doing the rest  As in some of the earlier Mozart symphonies, the winds also frequently coloured the texture with long but supple lines –  so although the strings had the bulk of the melodic material, the winds  (including the horns) frequently “coloured’ the ambiences, which in this symphony were lively and not a little exploratory, developing both the theme’s upward-rushing muscularity and making use of numerous “offshoots” of impulse in unexpected ways.

The slow movement was graciousness itself at the beginning, its sequences seeming to weave an endless continuation of variants of the opening – I became lost in its enchantment and its apparent inexhaustibility – no contrivance or striving for effect, but simply creativity being given quiet but purposeful energy. As with the previous two movements, the finale finds ways of making the expected unexpected – the triple-time Allegro turns, twists, runs and jumps, and generally led our ears a merry dance! Again, the horns open up the spaces suggested by the music’s energies, and the winds’ rustic colourings delight the sensibilities. Despite the movement’s brevity, Haydn’s seemingly boundless invention seemed to once more carry our interest along with the sounds’ continued delight in discovery.

Nothing could have better prepared us for the delights that were to follow, with Camerata leader Anne Loeser and violist Victoria Jaenecke entering to play for us Mozart’s adorable K.364, the Sinfonia Concertante in E-flat for violin and viola. From the beginning the sound was lovely, with especially telling dynamic variation from winds and horns and lower strings – the violins themselves seemed a trifle overwhelmed by their colleagues’ characterful strains at first, though the wonderful “Mannheim crescendo” that Mozart gives us in this first tutti here really made an exciting impact. Both soloists with their first notes were silver-toned and ethereal, each more so than I expected they would be, even though their passage-work was exemplary. Anne Loeser led the way into the beautiful minor-key development, each soloist making the most of the music’s pathos, and supported by the orchestra players so well. And their teamwork during the cadenza was exemplary, playing into each others’ music with real aplomb, though both gave me a start by plunging back into the allegro more quickly with their concluding trills than those on my favourite recording (the Oistrakhs pere and fils).

I couldn’t imagine the slow movement being better done than here, with each of the soloists seeming to “play out” more than in the first movement, while integrating their tones clearly and sensitively in the exchanges, the cadenza passage a highlight of the performance with its heart-stopping sense of time almost standing still. And the finale reinforced this “playing as one” kind of Elysium-like culmination of energies and purposes throughout the work – we all  enjoyed the  tidal ebbing and flowing between violin and viola, and also soloists and orchestra, as the work arched upwards towards its culmination in a final grand accord.

Anton Webern steals the show! – Orchestra Wellington and Marc Taddei with “Pharaoh”

Posted on by Peter Mechen

ORCHESTRA WELLINGTON presents “PHARAOH”
GEMMA PEACOCKE – Manta
(with Arohanui Strings)
ANTON WEBERN – Passacaglia Op.1
JOHN PSATHAS – Concerto for Timpani and Orchestra  “Pharaoh”
(with Tomoni Nozaki – timpani)
BRIAR PRASTINI (vocalist) – White, Red, Black
WOLFGANG MOZART – Incidental Music to “Thamos , King of Egypt”
(with the Orpheus Choir of Wellington – Brent Stewart, Director)

Orchestra Wellington
Marc Taddei (conductor)

Michael Fowler Centre, Wellington

Saturday, 7th October, 2023

Programme-holding audience members at Orchestra Wellington’s Saturday evening concert “Pharaoh” at the Michael Fowler Centre might have been a little confused upon turning to the opening page of a publication to find the heading “Prophecy” at the top of the page containing the evening’s listed items – hang on! – wasn’t “Prophecy” the title of the previous concert? There was also some disagreement in print regarding John Psathas’s scheduled Timpani Concerto – was it called “Planet Damnation” as on that introductory page with the programme listing? Or was the work’s name actually “Pharaoh”, which stood at the top of the section in the booklet devoted to each individual item, and which gave “Planet Damnation” as the name of the concerto’s third movement?

These things were, of course, minor hiccups which distracted little from the concert’s overall impact, which was considerable, and, thanks to Music Director Marc Taddei’s extraordinary empathy with young musicians demonstrated a heart-warming variety of delights throughout the presentation’s opening segment of music-making. Wellington’s long-established youth programme for aspiring string players, Arohanui Strings, were there in force, from tiny tots to teens, and obviously bursting to play their part in the concert’s opening item, Kiwi composer Gemma Peacocke’s beautiful, multi-stranded instrumental response to the subaqueous world of manta rays who populate the waters of the Outer Hauraki Gulf Tikapa Moana, as characterised in a story by Wiremu Grace, called Whaitere, the Enchanted Stingray.

Peacocke’s piece seemed wrought from sounds at once pulsating with movement and endlessly regenerating, beginning with attention-grabbing soaring and descending lines, a seascape with something of the quality of Sibelius in “The Oceanides”. The supporting winds and brasses sounded repeated figures and long-held pedal notes, with the youthful string-players steadfastedly holding their own lines as the creatures of the deep in the music reaffirmed possession of their world. A solo violin characterised for a moment something of a single creature’s adventure and undertaking, as the oceanic frisson with which the piece began rose and fell impressively once more before the waters resumed their preordained rituals of ceaseless movement.

Marc Taddei then took the opportunity to allow the youngsters their moment of glory, encouraging them to join in with a simplified version of Mozart’s “Eine Kleine Nachtmusik”. After starting them all off, the conductor stood motionless, leaving them to it,  exclaiming to us “Don’t they all sound better when I stop conducting them?” to great amusement all round! Then it was the “Tiny Tots” turn to impress (with even more than their obvious cuteness!), coming on stage with their tiny instruments and playing a folk-tune, then playing it again much faster, to breathless effect! After a lullaby restored composure, Taddei proceeded to give all of us a hint regarding one of the pieces of music scheduled for the as yet unannounced 2024 programme for Orchestra Wellington, telling us the Arohanui Strings will play a tune that “will give the show away!: – which it certainly did! And with that the youthful players took their leave……

What then was wondrous was how such heartwarming vignettes of youthful musicians playing what might in some cases have been their first-ever concert notes then “morphed” into the spectacle of the full Orchestra Wellington on the platform with their conductor tackling a score which truly represented a kind of acme of orchestral execution and epoch-making-and-breaking composition – this was the 1908 Op. 1 Passacaglia of Anton Webern, the composer’s simultaneous tribute and farewell to Romanticism in music, his only composition to be performed in public that was written under the tutelage of his teacher at that time, Arnold Schoenberg.

The 20-plus variations of this work (a Passacaglia traditionally consists of a short theme in the bass which becomes a foundation for a set of variations on that theme) use a brilliantly-worked array of sounds, often lush in the manner of Mahler but at times hushed and sparse, with brilliantly inventive combinations of instruments – Webern organises his variations into an almost symphony-like plan of movements, with a central slow section and contrasting scherzo-like textures, all concluding with a ghostly epilogue. Listening to the players negotiating this tightly-worked scheme with what seemed like absolute confidence and conviction, I found myself simply taking off my mythical hat to both conductor and players – I knew the work reasonably well, but couldn’t remember hearing on record or seeing on film a more exciting and involving performance!

I must confess to finding John Psathas’s Timpani Concerto which followed a bit perplexing in contrast to what I’d just heard – and unfortunately my seat was in a place where my view of the timpanist was obscured by the conductor, so I missed some of the visual excitement of the soloist’s obviously virtuosic command of the instruments. As it wasn’t a work I’d heard before I figured earlier I might find a You-Tube performance with which to familiarise myself regarding the piece – and I found a clip which bore the title “Planet Damnation”, featuring a most exciting performance by Larry Reese, the NZSO timpanist. I didn’t know I was hearing and getting to know only the final movement at that stage, so the onset of the first movement nonplussed me for a while, as did what seemed like an over-insistence of the percussionist playing the woodblocks! The slow movement, when it came, was something of a blessed relief.

Though it was just as unfamiliar, I really enjoyed the slow movement, as it gave the timpanist, Tomoni Nozaki, a beautiful young Japanese woman, a chance to demonstrate the skill and variety of her touch and her ear for all kinds of sonority, instead of her being often drowned out by the rest of the orchestra (I found the woodblock part for one far too insistent!). Then came the movement I’d already heard, and I was able to better relate to the plethora of percussive irruption that the first movement had seemed to unfetter upon our sensibilities. I don’t think it’s a work I shall ever love, but the skills on display by the soloist were sufficiently interesting to make the piece work throughout those two latter movements.

We had a different running-order to that of the printed programme, so we got Briar Prastiti’s “White, Red, Black” after the interval. I liked this work a lot, admiring the composer’s orchestrations of her material, the wind-blown ambiences of the opening carrying my sensibilities along with the music’s trajectories, sharpening my interest more with bird-song-like figurations suggesting in places things coming into focus. What I found slightly disappointing was not being able to hear a single word of the vocalist’s line (despite a microphone being used) from where I was sitting (and my companion similarly reported that he could not hear the singer, and nor could somebody else I spoke to afterwards)….the accompaniment was invariably beautiful, but whenever the song’s intensities sharpened or  grew in body, so did the accompaniments! For this reason, the most telling vocal moments for me were towards the end, when the voice became as an orchestral instrument, the wordless vocalising as haunting as any other of the sounds we were hearing.

Before the final item of the evening, Marc Taddei announced certain salient details of the Orchestra’s 2024 programme, certainly whetting our appetites with some of the detailings – it seems to be a kind of survey of masterpieces representing different eras of artistic creativity, beginning (if I remember correctly) with the Baroque era, and finishing with a contemporary work (I didn’t write all the “clues” down, but Taddei assured us that full details would be released at the Orchestra[‘s final programme for the year, “Red Moon”, on November 11th.

And so to the evening’s final item, which, though splendidly performed and presented, with resplendent singing from Brent Stewart’s Orpheus Choir, and, by turns, stirring and meltingly beautiful orchestral playing, either in support or leading the way, I thought it all essentially lacked the last modicum of focus and interest to be truly engaging. Perhaps if we had had the words, the extra focus would have enlivened the undoubtedly “Game of Thrones” like scenario for which Mozart produced this music. Or, perhaps we needed a narrator with a suitably theatrical “presence” to knit the scenario together more readily –  In reality, everybody – choir and orchestra – did their best with the material, but for me it never really caught fire! I found myself wishing at times that the orchestra was instead giving us the G Minor Symphony K.183, which was what the music occasionally sounded a bit like. And, as I walked to my car after the concert, the thing I found myself wanting to do the most was to get home and play that sensational Webern work again! It was , for me, the evening’s indisputable highlight, and I remain grateful to Marc Taddei and his players for THAT most of all – a truly remarkable experience!

 

 

The New Zealand String Quartet at Waikanae – Emperors, dictators and husbands in music

Posted on by Peter Mechen

Waikanae Music Society presents:
The New Zealand String Quartet with Diedre Irons (piano)

JOSEF HAYDN – String Quartet in C Major Op. 76 No.3 “Emperor”
DMITRI SHOSTAKOVICH – String Quartet No. 5 in B-flat Major Op. 92
AMY BEACH – Piano Quintet in F-sharp Minor Op.67 (1907)

The New Zealand String Quartet – Helene Pohl (leader), Monique Lapins (violin), Gillian Ansell (viola), Rolf Gjelsten (‘cello)

Waikanae Memorial Hall,

Sunday 8th October

Straightaway one felt something out of the ordinary as soon as the NZ String Quartet players took the Waikanae Memorial Hall stage and put their bows upon the strings to begin their concert – there was resonance in the voices, spring in the rhythm, and fluency arm-in-arm with an ease of variety and contrast – and to think I had thought beforehand, to my shame, “Oh, not another “Emperor! – with almost seventy other Haydns to choose from!” , when as it turned out, this was one which the playing made me really want to hear!

All of the above was part of the build-up to the great moment in the first movement that cellist Rolf Gjelsten had gotten his fellow-players to demonstrate for us in his introduction to the work – that plunge into the full-blooded rusticity of the dance, with strings suddenly becoming pipes and drones and stamping feet – outlandish, even gawky at first hearing, but so organic in the playing’s wider context that it placed the composer entirely at home in the scenario – It’s in this almost incomparable fusion of aristocratic and peasant-like that Haydn’s genius shines as brightly as anywhere else in his oeuvre!

Magic of a different kind was wrought by the Quartet’s hushed intensities with the slow movement’s beginning, lifting the much-vaunted melody far above cliché and commonplace utterance, and proceeding to ennoble it further with different voices for each repetition, the players in the final variation “centring” their tones as to produce a kind of extra-terrestrial expressive world reminiscent of Tchaikovsky and Borodin almost a century later.

The players danced the Menuetto through the music’s wry asymmetries, allowing a droll pesante touch with the slurred-note cascading passage that answered the opening set of phrases. How beautifully we were eased into the minor key Trio, with its briefly nonchalant shift to the major and back again to the minor, a “did we dream you or did you dream us?” moment! Far more volatile was the finale, with its three opening whiplash chords and scurrying minor-key presto figures making a helter-skelter impression, the players demonstrating spectacular fingerwork, in places excitingly tossing impulses from instrument to instrument, and bringing honour and acclaim to the music’s arrival at its eventual major-key conclusion!

On paper it seemed like something of a quantum leap from Haydn to Shostakovich, but the players seemed at the outset of the latter composer’s Fifth String Quartet of 1952 to straightaway forge links between the clarity and focus of the sounds created by each of these two masters of the genre. Shostakovich’s work and its predecessor, the Fourth String Quartet each had their genesis from a time in Russia (immediately post-Second World War) when, along with fellow-composers Prokofiev and Myaskovsky, he had been castigated by the authorities for not creatively responding as whole-heartedly as was expected to marking the thirtieth anniversary of the 1917 Revolution. Shostakovich was unnerved by these attacks to the point where he held back publication of several of his major works of that time until after Stalin’s death in 1953.

The Quartet’s music grows out of a five-note motif which the composer developed in imitation of JS Bach, who featured his own name in his music via the notes representing B-A-C-H, Shostakovich using the notes C-D-Eflat-B-Csharp derived from his own D-S-C-H motif. He also quotes from another source in this work, a Clarinet Trio written by a student of his, Galina Ustvolskaya, whose friendship Shostakovich valued and whose work he admired. At the outset his Quartet intersperses the five notes of the motif with obsessively-driving rhythmic figures before quoting Ustvolskaya’s contrasting waltz-like theme, and then exploring various permutations of the latter interacting with his own five-note motif, all the while intensifying the trajectories and accretions of the music’s forward movement.

The NZSQ players, to whom these kinds of musical intensities always seem meat and drink, held all of this together superbly, setting the beleaguered lyricism against the savageries with unfailing focus as we ran the emotional gauntlet towards the movement’s sudden de-escalation and eerie transition, via purposeful pizzicato passages and a spectral solo violin line, and found ourselves taken to mysterious places wrought by the second movement’s wraith-like fugal musings. These growing intensities with their “time standing still” aspect were steadily and patiently transporting us to “different realms” when the lines were strangely augmented by “wailing” sounds, at which point  the quartet stopped playing to listen to the intrusion with evident bemusement! (The locals, however, were not perturbed – these were the Waikanae volunteer fire brigade’s summonsing calls, a delicious irony being that a wartime photograph of the composer as an actual volunteer fireman does apparently exist somewhere  – giving rise to the thought that this interjection was meant as some kind of token of kinship!)

With the air of a group steadfastedly maintaining its own shared vision, the players picked up their journeyings through the music’s ambient wastes and continued their peregrinations – a “return to life” set of impulses became a kind of  “way through” and took us far from the initial conviviality of the finale’s opening jogtrot rhythms and into places where the five-note motif’s appearance and insistent repetitions reawakened tensions aplenty, the players running the music’s energies ragged, and spectacularly bolstering some of the more assertive figures with forthright pizzicati echoes of “belonging”, which, when done with led to some of the epilogue’s most heartfelt utterances – how piquant were those final pages, with the cello’s and solo violin’s laments comforted by the middle voices’ sustained life-lines.

Footnote: I decided, simply out of interest at first, take the opportunity to find out more concerning the background to the composer’s relationship with the aforementioned Galina Ustvolskaya, whose music Shostakovich quotes several times in the first movement of this quartet. I was greatly surprised to find a fierce controversy had arisen after Shostakovich’s death from various published interviews and dismissive statements made by the younger composer about her supposed “mentor”, giving rise to some of Ustvolskaya’s supporters adding to what amounted to a “denigration” of Shostakovich, both as a man and as a composer. All I can say in response is that, whatever reasons people might have had to cast aspersions upon the idea of a composer’s greatness, in this instance their comments and viewpoints ran counter in no uncertain terms to my own previous experience of Shostakovich’s music and, not least to what I’d just come from here regarding the NZSQ’s staunch, unswerving  journeyings through an “inferno” of angst-ridden outpourings from a truly creative soul.

So to the concert’s second half, the subject of which was the incredible American-born Amy Beach (1867-1944), a quintessential nineteenth-century woman composer who eventually overcame societal obstacles and made a career for herself as a performer and composer. One wonders what she might have achieved had her circumstances allowed her talents to flourish at a much younger age! – though it’s arguable, however, whether Beach’s situation led to musical deprivation or fulfilment on her part, as her husband’s insistence that she restrict her performance activities did lead to an intensification of her composing abilities, which itself has left an important legacy.

Dating from 1907, Beach’s Piano Quintet owed a lot to Brahms’s Piano Quintet, which she herself had performed with the Kneisel Quartet in 1900. Hearing its dramatic opening straight away reminded me as much of the sound-world of Cesar Franck as that of Brahms – the romanticism of the work’s dark, mysterious beginning has a kind of charged quality expressed in chromatic terms that’s similar to Franck’s, further expressed by the rippling piano part, though the excitingly assertive piano octaves that followed, full and rich under Diedre Irons’ fingers immediately brought Brahms back to mind, as did the swaying second subject presented by turns by the strings and on the piano (the tolling bell a feature of the keyboard writing). I thought the players relished the stormily dramatic string unison that began the development section, matched by the piano’s equally commanding reply (amazing piano playing!), all of which morphed into a reprise of the lovely second subject with bell-like piano sonorities, and a quiet, brooding end to the movement.

Firstly the strings, then the piano ravished our senses with the slow movement’s opening melody, the strings musing for a while afterwards, then the violins repeating the melody, Monique Lapins whole-heartedly with the theme and Helene Pohl tenderly descanting overhead – a series of intense interchanges culminates with a virtuosic outburst from the piano, and a deep, rich rendering of the melody from the cello, Rolf Gjelsten giving the lines full play and stimulating the other voices to full-throatedly take the melody to the heights of expression.

The finale’s vivace opening waltzed in to great effect, with an impish agitato character stalking the dancers every which way and all very chromatic, Gillian Ansell’s gorgeous viola solo providing much-appreciated if temporary respite! The agitato impulses returned, the strings exhausting their lyrical capacities over the next little while, and nervously taking refuge in tremolandi, then playing hide and seek with an agitated fugal passage kept most excitingly kept on the rails right through to the last flourish!! The players then gingerly picked their way through the myriads of spent intensities, the piano leading the way and the strings rhapsodising – then the music surges again, the players giving the composer’s unquenchable romantic spirit here full rein. And the work’s coda is spectacular, by turns, headlong and unrepentantly rhapsodic – and finishes with a flourish! – cor, blimey! I’m still feeling exhausted by it all as I write this! The NZSQ musicians (and the indefatigable  Diedre Irons) certainly gave Amy Beach her dues, and we loved them and her for it!

Pasifika (m)Orpheus operatic presentation a poignantly human tale

Posted on by Peter Mechen

(m)ORPHEUS –
a reimagining of Gluck’s “Orfeo ed Eurydice” (reorchestrated by Gareth Farr)

Cast
Samson Setu – Orpheus
Madison Nonoa – Amor
Deborah Wai Kapohe – Eurydice

Production Design : Tracy Lord Grant
Director: Neil Ieremia
Assistant Director: Jacqueline Coats
Lighting: JAX Messenger
Conductor: Marc Taddei
NZ Opera Chorus, Black Grace Dancers
Orchestra Wellington : Concertmaster – Amalia Hall
Violin (Vivian Stephens ), Viola (Susan Fullerton-Smith), Cello (Jane Young)
Clarinet & Saxophone (Mark Cookson)
Trumpet & Flugelhorn (Matt Stein)
Trombone & Euphonium (Peter Maunder)
Marimba (Naoto Segawa &Yoshiko Tsuruta)
Guitars (Gunter Herbig)

Opera House, Wellington September 23rd 2023

I didn’t know until I began exploring the recent performance history of Gluck’s opera that Orpheus and Eurydice had been “reimagined” here in Aotearoa New Zealand before – a 2018 production at the Auckland Arts Festival presented the work as “A Dance Opera” directed and choreographed by Michael Parmenter, and designed then by the present designer, Tracy Lord Grant – on that occasion the opera was sung as the action was “danced”, with everything integrated into a contemporary-style presentation, including numerous visual ”links” and various enactments of and between the opera’s action and everyday society. From the reviews I have read I’m compelled to say that it was certainly something I greatly wished I had seen.

This very different 2023 reworking of a “dance-opera” idea came from director/choreographer Neil Ieremia, one unhesitatingly presenting a Pasifika view as confidently and naturally as one would a world view – throughout, the confidence and surety of the chorus regarding both singing and movement drew me into the central idea of the story’s world, the Samoan words at the extremities of the action effectively “ritualising” the storytelling as potently as any non-vernacular opera libretto does as a matter of course. In fact the chorus here under Ieremia’s direction were as much a “fulcrum” to the action as in any classic Greek play, thus forging links on a number of counts between times and places delineating humanity at large – a heartwarming achievement on the part of both director and players.

Further advancing both the Pasifika and classical European view of life and death is the concept of an  “underworld”, here brought to visual, though not especially dramatic use in the story, being used more effectively in stasis than in movement between. Perhaps the most effective moment confounding this assertion was the staging of the Furies at the beginning of Act Two hanging upside down from an elevated level like predatory bats before realigning themselves firmly on the floor of Hades itself to challenge Orpheus’s presence. These were Neil Ieremia’s own dance group Black Grace, dancers who have already made an impact with both traditional and contemporary presentations, and here they excelled as much with their aggressively baleful aspect as the Furies as with their contrastingly lyrical dance depictions of hero and heroine as a couple and what seemed like stylised re-enactments of Orfeo’s attempt to lead Eurydice out of Hades and back to life.

Interestingly, this production styled itself in its title as Orpheus alone, but with a parenthesised “m” suggesting both the power and influence of sleep (“Morpheus”) over the title character, while also playing down the role of Eurydice almost to the point of being a dream-like figure who, having already died before the story’s beginning lived only in Orpheus’s imagination. Neil Ieremia advances the view that, with Eurydice’s loss, Orpheus is now without his “feminine” side, namely his “compassion, empathy and sensitivity”. Still, we couldn’t help but respond to what happens between then during the course of the story as a kind of lovers’ tragedy, as in the Gluck original of 1862, even if the presentation’s final scene has Orpheus and Eurydice parted once again, with the hero up the stairs in isolation while Eurydice’s body lay inert on the level below…….one is reminded, amid the tragedy, of a phrase such as “did we dream you or did you dream us?” underlying the feeling of isolation and bewilderment of human loss……

The voices of the principals uncannily reflected their situations both during and at the conclusion of the opera – Samson Setu’s rich, golden tones beautifully filled out Orpheus’s fully-committed anguish and grief at the opera’s beginning, strengthening his tones with resolve when confronting the Furies, and melting with tenderness at the thought of seeing his Eurydice once again. However, neither his voice nor his body language “caught” for me the ambiguities of his despair at firstly having to “give in” to Eurydice’s pleas that he look at her at the climax of their flight from the Underworld, before helplessly watching her die. As Eurydice Deborah Wai Kapohe similarly charmed us with heartfelt and delicate sounds at first but couldn’t then summon the vocal heft to “galvanise” my sensibilities with her despairing cries as her end approached. Of the three principal singers the most flexible and responsive to both text and situation was Madison Nonoa as Amor, at once girlish and worldly, pink-puffer jacketed and denin-jean shorted to boot, as if she’d just drifted in from Courtenay Place here in Wellington, her laid-back humour a perfect foil for the seriousness of the other two characters.

Composer Gareth Farr responded to the challenge of “reinventing” Gluck’s orchestration of the work with Pasifika-like elements and gesturings, bringing into play an amalgam of brass and woodwind mixed with marimba, and underpinning the soundscape with a string-quartet like continuo for the action’s unfolding, along with a guitar (played by Gunther Herbig) as Orpheus’s lyre idea, all of which sounded “similar yet different” to the 18th-century original. Conductor Marc Taddei’s robustly controlled trajectories kept the action moving, getting playing from the Orchestra Wellington musicians that was spot-on in terms of accuracy, ensemble and atmosphere. Tracy Lord Grant’s stunning designs, Jacqueline Coats’s able directorial assistance and JAX messenger’s lighting all played their part in evoking in the Wellington Opera House’s atmospheric precincts this resonantly Antipodean realisation of the age-old darkness-and-light story of love and loss.

 

Evocations of Spain, from Ewan Clark and the Wellington City Orchestra

Posted on by Peter Mechen

Wellington City Orchestra presents:
CHABRIER – Espana
TURINA – Danzas Fantasticas
BIZET – Carmen Suite No. 1
RODRIGO – Concierto de Aranjuez
(Owen Moriarty – guitar)
BIZET – Carmen Suite No. 2

Wellington City Orchestra
Conductor – Ewan Clark

St.Andrew’s-on-The-Terrace, Wellington

Saturday, 16th September 2023

There were probably quite a number of people attending this concert who were in exactly my situation regarding our relationship with the music we were about to be served – the Chabrier, Bizet and Rodrigo Items I had heard many times before and knew reasonably well, but the Turina work,  Danzas Fantasticas, never.

Audiences are more often than not disparate and largely unconnected fraternities, but here from the outset one sensed a kind of “anticipatory listening camaraderie” hovering about St.Andrew’s Church  in view of the afternoon’s programme. I liked imagining that it promised both the pleasure of hearing so many well-known items, and the thrill of discovering and getting to know at least one work of Turina’s – whose title alone promised more of the same qualities as its companions in the programme.

Well, I can’t speak for my companions in the church this afternoon, but by the time the Danzas Fantasticas had strutted its stuff, I was flabbergasted! I kept on thinking, listening to conductor Ewan Clark’s expert “putting the players through their paces” reading of the work, why have I never before investigated this music ? What a peach of a work! I had actually heard of it (probably the only Turina work I could name if pressed to do so), but it didn’t for me provoke anything like the “instant recognition” that any of the other pieces on this afternoon’s listening menu did. It would therefore be fair to say than Joaquin Turina isn’t as yet a “single-work composer” in the popular regard of things, as one could say about Chabrier with his Espana” or Rodrigo with his “Concierto  de Aranjuez” – and, in many people’s minds, perhaps even Bizet with his “Carmen”.

However, it wasn’t for me the only reason that this Wellington City Orchestra concert gave such particular pleasure on this occasion – though not yet entirely consistent in its responses to the demands of the music, I felt that the band under conductor Ewan Clark had captured the character of every piece we heard, from the vibrancy of rhythm and colour evident in Chabrier’s Espana” to the sheer variety of emotion and situation portrayed for us in Bizet’s music for his opera “Carmen”. A friend afterwards remarked upon the vividness of the playing’s recreation of the opera’s powerful atmosphere and intensely dramatic situations. And besides the vividness of Turina’s picture-postcard evocations of Spanish life, the playing of guitarist Owen Moriarty brought home to us the intensely-wrought emotion embedded in the famous “Aranjuez” Guitar Concerto, the orchestral response to the soloist’s and his heartfelt ruminations impressively of a piece with the music’s character and depth of feeling.

A few remarks regarding what I heard here and there in the music and its playing – at the very beginning of “Espana” there were a few tentative moments with the difficult syncopations between strings and wind (I played in this work once in my halcyon days as a percussionist, and remember never feeling entirely sure of what I was doing in relation to my fellow-musicians, including the conductor! – AND I also remember not being able to get Perry Como’s famous “Hot Diggety Dog” song out of my head for some time so I could properly concentrate on Chabrier!). Here, the introduction came together beautifully as the players overcame these uncertainties and started to develop the music’s engaging feeling of “schwung”, the piece’s occasional “rolling crescendi” also carrying us along with great exhilaration! Ewen Clark got a treasurable moment from the strings with a “comma” inserted at one point just before the players’ big-hearted taking-up of the juicy lyrical theme! – and I also liked the elan with which the brasses made their alternating calls just before the coda.

Next up was the Turina work, about which I must report that my anticipation was all the more whetted by the appearance on the platform at that point of a contrabassoon that seemed twice the size of the player who was carrying it! Despite my slight bewilderment at the programme note not being entirely “on the button” with its descriptions of the openings of each of the first two movements, I still thoroughly enjoyed the sounds that I heard! The first opened with mysterious string chordings, followed by a sudden irruption, stimulating rhythmic sequences of sounds by turns lively and sultry, with a lovely, romantic melody dug into by the strings varied by some beautiful lines from a cor anglais  – then the strings returned with their mysterious opening chords before bidding us a kind of sweet and nostalgia-ridden series of “adios”. A bracing call to attention began the second movement, which then morphed into a more relaxed and somewhat angular 5/4 rhythm with beautiful writing for both strings and winds. Yes, the finale was indeed of a “lively and rhythmic character” – very Spanish, with the themes contrastingly sultry and charming, with an exciting coda, a brief cello solo, and a coruscating orchestral pay-off!

We then got the first of the two Carmen Suites from the opera, beginning most appropriately with the baleful “Fate” theme (which I recall never before hearing until I encounted the opera proper!) – great brass and lower strings here! The Aragonaise theme came next, delivered with great brilliance and atmosphere – it was followed by the beautiful “Intermezzo” a moment of flute-and-harp calm in the opera amidst a sea of troubles! Carmen’s tempting invitation to Don Jose, the Seguedille followed – after a slightly shaky start, oboe and strings nailed it! Les Dragons  d’Aicala, Don Jose’s marching tune, featured both bassoon and clarinet in fine fettle, while the suite’s most popular number Les Toreadors made an excellent first-half concluding piece, not too rushed, but delivered with real swagger!

After the interval Owen Moriarty took the platform with his guitar, to perform the much-played but ever-enchanting “Concierto de Aranjuez” by Joaquin Rodrigo – this occasion was no exception, as the soloist despatched his part with a remarkable amalgam of spontaneity and fluency throughout – did the wind players occasionally get slightly ahead of the soloist at times when he seemed to “give space” in  the turning of a phrase-end? – even if such was the case, no violence to any particular bar or phrase that I could pinpoint was enacted by any of the players in the making of this music! A deservedly-mentioned highlight of the performance was the playing by Rodney Ford of the cor anglais solo in the second movement, for which the latter received acknowledgement at the work’s end – the playing had a plangency I couldn’t remember being bettered in any previous performance I’d heard. In fact the “live” occasion gave the music an extra level of intensity throughout that made a huge difference to how one responded to the work as a whole, the occasion thus more deeply “touching” my sensibilities than has been usually the case with the music.

Nothing could have “rounded off” the concert better after this than the second of Bizet’s “Carmen” Suites – though Owen Moriarty did his best to help us return to our lives with an encore by a Serbian composer Miroslav Tadic – a most entertaining and vigorous piece called “Walk Dance”, which certainly “cleared the air” of any Iberian excess that may have hung around after the concerto’s final notes had died away. Then it was all orchestral hands on deck again for the Bizet, beginning this time with a more-than-usually circumspect piece for this opera, the Marche des Contrebandiers  (Smugglers’ March), but whose relative unfamiliarity was made up for in spadefuls by the deservedly famous Habanera. Afterwards came some of the most beautiful music from the opera, that given to Micaela, Don Jose’s would-be sweetheart, in the throes of searching desperately for him in the mountains – lovely horn-playing, at first, followed by the solo violin with the melody, the Concertmaster Paula Carryer here doing an excellent job!

More familiar to those who hadn’t yet seen the opera would have been the following Chanson du Toreador (Song of the Toreador) expressing the necessary courage and bravado of Escamilo, the bullfighter, with solo trumpeter Neil Dodgson making a brilliant job of it, as do the brass in general in the following La Garde Montante (The Changing of the Guard) together with the winds, giving the scene plenty of ceremonial elan! Finally, we heard one of Bizet’s most exciting creations, the Danse Boheme, sung in the opera by Carmen and two of her gypsy cohorts in a vivid description of a wild and abandoned gypsy dance, Ewan Clark and the orchestra responding by pulling out all the stops, as they say in the classics, and bringing the concert to a suitably brilliant conclusion. We clapped and shouted our approval of it all, a great and deserved success for all concerned – well done on all counts to guitarist Owen Moriarty, to conductor Ewan Clark and to the stalwart players of the Wellington CIty Orchestra.

 

 

 

Cantoris Choir resonant in Rutter and determined in Durufle….

Posted on by Peter Mechen

Cantoris Choir presents:
DARK AND LIGHT
JOHN RUTTER – Gloria
MAURICE DURUFLE – Requiem

Cantoris Choir,
conducted by Thomas Nikora
with Jonathan Berkhan (organ)
and Samuel Berkhan (‘cello)

St,Peter’s-on-Willis Church, Wellington
Saturday, 9th September 2023

Two markedly different but satisfyingly complementary works were presented at St.Peter’s-on-Willis on Saturday night by Cantoris Choir, conducted by Thomas Nikora. The concert had been plagued with difficulties, due to various people’s unexpected incapacitation for various reasons, but the show went on in the time-honoured manner, to everybody’s great credit under the circumstances!

The first half consisted of John Rutter’s “Gloria”, which I had seen and heard  Cantoris perform before – in April of 2019, to be exact – a concert I remember had the choir in confident and vigorous form on that occasion. I’m presuming that tonight’s concert was affected by the difficulties alluded to above, though Thomas Nikora was able to steer his voices safely and sonorously through all but the most angular and demanding moments. Rutter’s three part work emphasised the joyousness of the text at the outset, Joinathan Berkahn’s organ-playing at the beginning setting the scene with a couple of majestic irruptions of sound and adding resonance to the choir’s opening unison “Gloria in Excelsis Deo”, I liked the composer’s differentiation between celestial splendour at the outset and the “more suitably earthbound” contrast with the humbler “et terra pax” , and also the jazzier return to the opening, with an emphasis upon the word “Deo” at the end.

Straight away the piping organ tones at the beginning of the next part reminded me of Christopher Smart’s cat Jeffrey, in Britten’s “Rejoice in the Lamb”. The voices rose with the words “Domine Deus Rex Caelestis” while the organ tripped merrily on, (in places the work almost had an “organ sonata with vocal obbligato” kind of effect!) before the vocal lines descended nicely with hushed tones at “Qui tollis peccata mundi”, including a “splinter group” of voices who had retreated to give an evocative  “cry from the wilderness” impression. Together with the words “Qui sedes ad Dextram Patris ”, the sweetly-intoned “Miserere nobis” hauntingly echoed to the end.

The vigorous opening of the finale, underpinned by the organ, featured the “Quoniam” with its repeated “tu solus” acclamations of “You alone” driving the music on, the phrase tossed about the choir with surety in preparation for the build-up to the “Cum Sanctu Spiritus” and leading on to the fugue-like Amens”, the dancing rhythms propelling everything forwards, conductor and singers finding more radiance as the music proceeded, if also showing the stain of Rutter’s insistent demands in places. However,  over the final pages of the work and concluding with the reprise of the “Gloria”. the voices acquitted themselves splendidly.

IN this world of two distinct halves the Durufle Requiem certainly occupied the darker side of the sphere as per the programme’s title, though the work itself certainly doesn’t take us to the same degree of Dante-esque terror via  theatrical and cataclysmic “Dies Irae” sequences, as did both Berlioz and Verdi in their respective “Requiems” – like the Durufle work’s “twin”, which is the Faure Requiem, the scenario presents the idea of faith as the “ultimate answer to the mystery of life after death” with the concluding “In Paradisum”, a sequence not used by either Berlioz or Verdi. Durufle’s work also differs from Faure’s in that the composer sought to replicate the style of Gregorian chant, rather than invent his own themes, as Faure did. Thus we are conscious all through Durufle’s work of the influence of the ancient chants, giving this Requiem a unique kind of character, at once a timeless and a universal sense of origin.

A great opening organ chord! – and straight away the Cantoris voices drew us into a world that at first seemed more like plainchant than in Faure’s eponymous work, with the men’s voices steadily intoning the “Requiem aeternam” – a lovely effect was the women’s voices floating over the top, the voices coming together beautifully for “et lux perpetua”.   The “Kyrie”, which followed immediately, sounded like plainchant which I myself could remember singing long ago at Mass! Durufle’s contrapuntal lines  merged here into radiant outpourings over both Kyries and Christes. The “Domine Jesu Christe had a sombre beginning on the organ, the women beginning the “Domine Jesu Christe” chant-like tones before the choir burst out vehemently with “Libera eas de ore leonis” (Deliver them from the mouth of the Lion), then continuing with even more stress-wrought pronouncements – “Ne absorbeat eas Tartarus, ne cadat in obscurum” – (Lest Tartarus swallow them up and they fall into darkness” ) – and the organ going almost beserk with agitation as well! (those of us not hugely familiar with the words really needed the text at hand to follow what was being  expressed specifically, though one of course naturally concluded from  encountering other requiems that the scenarios being described were anything but sweetness and light!)….the women’s voices which then  invoked St.Michael’s guidance did restore some order! – and their “Quam olim Abrahae” further renewed a sense of faith and hope “….into the holy light which once you promised to Abraham and his seed….”

The male soloist who then came forward did well with his “Hostias et preces tibi, Domine” (We offer to you, Lord), the organ plumbing the expressive depths in support – and several women members of  the choir suddenly retreated further into the sanctuary and intoned from the distance their lines once again, before returning – an atmospheric touch!

The “Sanctus” so beautifully swirled into one’s hearing by the women’s voices, like cascading water swirling deliciously all about, with lovely organ accompaniments! When it came to the Hosannas the men did so well, their voices forthright and joyous, suitably inspiring the remaining voices to add their cries to the acclamations. the Benedictus adding to the swirling motions, albeit very briefly. With the  following “Pie Jesu” a solo ‘cello (played by Samuel Berkhan) accompanied a soprano voice, a lovely melody shared between the two – very low for the singer at first, but the voice sounded freer and happier in its subsequent “soaring” mode.

A purposeful beginning by the organ launched the “Agnus Dei”, with the women’s and then the men’s voices taking their turns, then dovetailing the sonorous lines as the piece proceeded, creating  gorgeous harmonisings as the “Dona Eis Requiems” were intoned, along with a breathtakingly lovely “Requiem sempiternam”.  Falling organ note-cluster-harmonies then introduced the “Lux Aeterna”,  again reminiscent of Gregorian chant, before intoning haunting single-note lines, interspersed with the organ’s improvisatory-like recitatives – the single note chantings suggested a possible air of finality and impending peace, one however roughly broken into by the organ’s summonsing of the  forbidding-sounding  “LIbera me”.

The men pushed the lines along what seemed a torturous way, assisted by the women’s voices; and the solo baritone re=entered, a little unsteady at first then finding his voice, with the most fearful of the work’s texts given tongue at this point, the men confronting the “Dies Illa/Dies Irae” warnings throughout the “no-souls’ land of the music at this point,.Finally,  the choir grasped onto their reprise of the “Libera Me” with appropriate conviction and beseechment.

It was given the organ to wreathe from the uneasy calm the strains of “In Paradisum”,  the voices tentative at first, and then with “Chorus Angelorum te suscipiat”  (There may the chorus of angels receive thee) the music seemed to find its path amid the suspended chaos, and beckon all to follow.

Those of us who might have expected to encounter a kind of dutiful reminiscence of Gabriel Faure’s earlier work found ourselves at the conclusion of Durufle’s work forced to consider the proper implications of what we had just experienced – a masterpiece in its own right, forged and performed with some difficulty but plenty of singular and enduring purpose from all concerned……..

Bartok’s “Bluebeard’s Castle” – a production for our time

Posted on by Peter Mechen

NZ Opera presents:
BELA BARTOK – Bluebeard’s Castle
A co-production by Theatre of Sound and Opera Ventures (UK)

Cast
Susan Bullock – Judith
Lester Lynch – Bluebeard
Erin Meek – Judith 1960s
Katie Burson – Judith 1970s/80s
Marion Prebble – Judith 1990s
Ava Phipps – Meadow
William Kelly – River

Laurence Renes (conductor)
Daisy Evans (Director and Translator)
Stephen Higgins – Revival Director
Adrian Linford – Scenic and Costume Designer
Jake Wiltshire – Lighting Designer
Max Pappenherim – Sound Designer
David Kelly – Repetiteur

New Zealand Symphony Orchestra

Michael Fowler Centre, Wellington

Thursday 10th August 2023

 

This presentation was a boldly-conceived contemporary recasting of the enigmatic story of Bluebeard, a character with origins in myth and legend where he’s portrayed as some kind of “serial killer”of his wives. It was then adapted in operatic guise around a century ago by Hungarian composer Bela Bartok as a story of a love-encounter between two strong-willed personalities leading to the tragic subjugation by one of the other.  Now, here, we witnessed  a radically different “take” of Bartok’s and his librettist’s story, still using the composer’s music and an updated English version of the same libretto, but presenting an entirely new husband/wife scenario.  – the couple’s long-standing marriage is shown as being put under considerable strain by the onset of some kind of cognitive disorder on the part of Judith, the wife, a situation borne with considerable forbearance of character from both partners. And, there’s a good deal of sympathy elicited for the plight of each in the situation for different, albeit closely-related reasons that are essential to the drama.

This particular production had its origins in the UK from the Theatre of Sound Company’s reworking by director Daisy Evans of Bartok’s presentation – here, Bluebeard and Judith are living their lives as an ordinary suburban couple, but with Judith’s own grasp of reality seemingly under siege, and her husband, Bluebeard experiencing the pathos of appearing to gradually lose his wife to dementia. So Bluebeard’s “castle” is transformed into their home, and the “doors” (so strikingly symbolic in Bartok’s work) are embodied in a large chest filled with the couple’s memorabilia, one which, during the work Judith frequently refers to with demands that it be opened and its contents revealed.

What seems to be presented here is Judith’s replaying of a version of her own life story as, one by one, certain aspects of the couple’s past are uncovered, in each case embodied by the appearance of a younger woman on the stage, the three that appear by turns throughout the course of the different “revealings” obviously representing younger versions of Judith, and with whom Bluebeard interacts knowingly and affectionately. Still, there’s certainly a kind of ambivalence present in some of these “revealings”, as to whether the latter “wants” Judith to revisit some of these memories, or is, in fact being forced to reveal aspects of his own past that he would prefer remained secret. The sixth of the “doors” is, in some ways, the most telling of these revisitings (as it is in Bartok’s own staging as “the “lake of tears” wrought from what Bluebeard in the opera describes as his own sorrows), where husband and wife here physically wrestle with a box containing what seem like letters, photographs and memorabilia, and the contents are dramatically spilled out onto the floor in front of them – we are uncertain whether the angst here is shared in common by the couple or the result of Bluebeard’s own secrecies being uncomfortably exposed. The husband’s anguished plea of “Judith, must we do this?” adds to the tantalising ambivalence of it all.

The denoument, so telling in Bartok’s version with the revealing of Bluebeard’s former wives, somewhat macabrely and symbolically remaining alive but “held prisoner” in the castle, and the subsequent subjugation of Judith to a similar fate, is here of a vastly different order. The reappearance of the different “Judiths” along with whom one supposes are either the couple’s children or grandchildren swing the scenario’s portals  wide open as to the state of things for the pair at the work’s conclusion. Bluebeard’s own resignation to a world of darkness comes across as an intensely personal realisation, but one whose recalibration as a tragic experience “shared” with his wife makes for an intensely moving conclusion in the work’s updated version, a devastation of experience in which love seems to be the only worthwhile positive response.

As with Bartok’s and his librettist poet Bela Balazs’ version of the legend, some of the events of the story give rise to considerable conjecture on the listener’s part as to what is “meant” in places; and I found myself puzzling over certain aspects of the present production. The chief one was the fifth of the “revelations” in which Bluebeard describes the majesty and grandeur of his “realm”, accompanied by the work’s most spectacularly-wrought music, and to which he here reacts by the donning of some kind of “party” costume, and greeting two children, who are presumably a remembrance of his and Judith’s own offspring. Wondrous though the orchestra sounds are, I would hesitate to characterise them as “party music”, and in doing so am confessing to a lack of imagination on my part as to what was at this point exactly being alluded to. Of course, as with many instances of great art, one’s own capacities for understanding are often pushed beyond one’s own limits, and continue to remain a source of wonderment, in some cases remaining a mystery.

All of this was conveyed, firstly and foremostly, by the two singers, Susan Bullock and Lester Lynch, with the utmost dramatic and theatrical skill and conviction throughout – against a backdrop of a whole world of mysterious orchestral sonority conjured up by conductor Lawrence Reynes with the New Zealand Symphony Orchestra in top form throughout, the soloists “sung” their characters into life, aided by movement and gesture which fitted their characters and situations like a pair of gloves upon the hands of a single person. One hesitates to describe the pair individually, as everything they did on the stage conveyed an awareness of and response to the other, bringing home to us the extent of their tragedy and the remarkable generation of human emotion they directed towards one another throughout. Occasionally the voices were swamped by the orchestra, but such places in operatic scores often demand such a fusion of overwhelming sound in places where voice and instruments become as one – and one surrenders to such moments as part of the experience.

The scenario, and the characters’ movements in their world were unerringly delineated throughout, with direction, costumes, sound and lighting tellingly and atmospherically wrought. Conductor Lawrence Renes controlled the orchestral ebb and flow with point and flexibility, allowing the big moments to “tell” as effectively as he did the score’s many  “whispered” detailings at the other end of the tonal spectrum, all quite remarkably re-contextualised here to suit the time and place of the updated schema, and realised with playing that by turns thrilled, gripped. disturbed and delighted. I was sorry that the printed programme provided for audience members seemed to continue the recent trend of NZSO programmes providing a bare minimum of information regarding the works performed and the artists involved, and requiring patrons to “scan” on machines provided in order to get “full programme notes and artist information”. These omissions, such as any detailed background history to the composer and the work presented, along with any kind of artist information certainly detracted from any in-depth “souvenir value” the publication might afford enthusiasts such as myself.

This minor quibble apart, I found myself “caught up” in the experience of this “Bluebeard’s Castle” to a degree I hadn’t quite expected, exchanging my hitherto awe and wonderment at the usual, familiar encounter with the work for a different kind of confrontation with adversity and darkness. It was one which I found couldn’t help but echo some of my own resonances of involvements with various people, interactions which were difficult, and often distressing to encounter and try and come to terms with. This production could be described as a “brave new world” of sorts, and is something one ought to, if one gets the chance, go and experience wholeheartedly for oneself.