5 stars
As part of the Sydney Symphony Orchestra series “International Pianists in Recital”, Sydney classical music lovers were treated to a double whammy last night with two featured guest artists of extraordinary talent.
Russian born pianist Daniil Trifonov has built an enviable reputation as a busy and popular international concert soloist. He is an exclusive recording artist for Deutsche Grammophon, a Grammy Award winner and was made a Chevalier de l’order des Arts et des Lettres by the French Government.
One can hardly call him an accompanist. For this concert, we shall say he collaborated with the masterful Baritone from Germany, Matthias Goerne. Together they performed Schubert’s much loved Winterreise, a song cycle of lieder which are poems set to song. The words were written by poet Wilhelm Müller in the 1820’s. In the poem, the narrator goes on a Winterreise or “winter journey” roaming on a cold night, observing, responding and interacting with the world at large. The memory of a lover, walking over fields, through a town, crying in the snow, being hassled by a crow, writing on a frozen river, passing a graveyard, watching a poverty stricken busker… Each story is full of emotion, sentimentality and with sensual description. The popularity of this work remains high around the world. The poems and music make a solid and diverse foundation for performers to weave their unique interpretation.
Goerne’s career has taken him through many genres of music. Opera is the expected attraction for most classical singers. Although Goerne continues some work in the theatre, he prefers to focus more on the concert hall.
It’s a generous soul who enjoys sharing a spotlight with a concert pianist rather than an unnamed accompanist. Goerne has previously shared the concert hall stage with international pianists such as Evgeniy Kissin, Seong-Jin Cho and Markus Winterhauser.
Working with extraordinary pianists, including Trifonov in this concert, carries the performance to a whole new level. No longer is the pianist following the lead of the singer. Trifonov and Goerne have clearly built a wonderful professional partnership. They created a space of mutual trust, where both can express themselves and work off each other equally.
It is possible Goerne was not in the best of health for this concert. The beginning of the performance felt quite small, albeit the opening poems are rather sad anyway. We could feel Goerne draw in a deep breath and pour his expression into the start of each phrase which continued to undulate through his entire body as he sang. The more powerful phrases initially did not meet the volume of the piano, yet Goerne seemed to significantly perk up by half way through the song cycle and continued with strength through to the close.
His voice has the most delectable tone with the higher notes pure and clear as a bell, marvellous diction and the lower registry feeling as rich as the best basses in the world.
By the time we reached the seventh song (of twenty four songs) there was a rustle in the silence as the audience turned the page, bringing a smile to Goerne’s face. Sydney Symphony had thoughtfully added the words to all the poems in the program so we could more fully appreciate the story telling. As English speakers, most of us have not memorised the poems. The page turning got louder as more in the audience followed suit and the house lights, softly lit, gave us an opportunity to read without turning on the phone torch.
Goerne and Trifonov both are the most extraordinary story tellers. We have never heard such a full, rich and diverse interpretation of the work.
Trifonov was not only flexible in his playing style but also in his spine which would sometimes bend to 90 degrees over the keyboard, then sit tall and straight like a child at lessons. His expertise was undeniable and breath of expressiveness unbeatable.
One of the best known pieces within the song cycle is “The Linden Tree”. Goerne performed this with so much love, perhaps for the words of the lied offering peace to a troubled heart but also because it is simply a lovely piece of music. With crystal clear blue eyes, he relayed each sentiment, sometimes light and airy, sometimes stoic. He spent much of his time physically attached to the piano and even turning to sing towards Trifonov. Thus, the audience members in the boxes on stage left did not see his face much throughout the performance.
The popularity of Lieder in the 19th Century was huge due to their accessibility and ease for people to be able perform in their own homes. If we closed our eyes, we might actually see ourselves with these two magnificent artists in an intimate salon. The delivery was not rushed, not blasted out, not amplified. It was very intimate, drawing us in. At one point they were both performing so quietly, a baby might sleep in the room.
The City Recital Hall was filled to the back of the Grand Circle and gave generous applause at the close of the concert. All health issues were forgiven and the audience could plainly see they were witnessing the work of two sublime artists in a memorable moment in history.
Trifonov has more concerts with the Sydney Symphony before he moves on to the next city. It is highly recommended you grab a seat if available.
Related Links
What’s on with Sydney Symphony Orchestra: https://www.sydneysymphony.com/#whatson
More about Baritone Matthias Goerne: https://matthiasgoerne.org/
More about pianist Danil Trionov: https://daniiltrifonov.com/
