LMIC radio

Das Rosenband

Izpildītāji

Inga Kalna - soprāns
Diāna Ketlere - klavieres

Ieraksts

2020

Izdošanas datums

15.01.2021

Skaņdarbi

Rihards Štrauss

"Allerseelen"

Jānis Mediņš

"Uz brītiņu"

Rihards Štrauss

"Morgen!"

Rihards Štrauss

"Breit' über mein Haupt"

Jānis Mediņš

"Aicinājums"

Rihards Štrauss

"Zueignung"

Alfrēds Kalniņš

"Jūras vaidi"

Rihards Štrauss

"Ruhe, meine Seele!"

Alfrēds Kalniņš

"Ūdens lilija"

Rihards Štrauss

"Das Rosenband"

Jānis Mediņš

"Jaunā mīla"

Rihards Štrauss

"Die Nacht"

Rihards Štrauss

"Heimliche Aufforderung"

Alfrēds Kalniņš

"Jau aiz kalniem, jau aiz birzēm"

Rihards Štrauss

"Cäcilie"

Apraksts

LMIC 083

Šī koncertprogramma pirmo reizi pie klausītājiem nonāca 2016. gadā, kad skolas biedrenes, soprāns Inga Kalna un pianiste Diāna Ketlere, Dzintaru koncertzālē kopīgi atskaņoja Riharda Štrausa un latviešu klasiķu Jāņa Mediņa un Alfrēda Kalniņa dziesmu izlasi ’’Rudens kamermūzikas’’ festivāla ietvaros. Koncerts tika apbalvots ar Lielo mūzikas balvu 2016 kategorijā ’’Izcils sniegums kamermūzikā’’. Lielās mūzikas balvas rīkotāji, nominējot mākslinieces balvai, veltīja viņām atzinīgus vārdus: ’’Dzintaru koncertzālē publika klausījās labi zināmo Alfrēda Kalniņa un Jāņa Mediņa vokālo liriku pavisam jaunā un pārsteidzoši svaigā lasījumā un nezināmas Riharda Štrausa dziesmas izjuta kā tuvas un atpazīstamas. Inga Kalna un Diāna Ketlere atklājās kā fantastiski saliedēts duets un vienlaikus arī kā divas individuāli spilgtas mākslinieces. Hamburgā mītošā brīvmāksliniece ar silti lirisko toni un uz vairāku pasaules līmeņa operteātru skatuvēm gūto rūdījumu un viņas ilggadējā kamermūzikas partnere, iejūtīgā pianiste un Londonas Karaliskās Mūzikas akadēmijas profesore, sagādāja muzikālu piedzīvojumu ar patīkamu un noturīgu pēcgaršu.’’ 

Toties pati Inga Kalna pirms koncerta 2016. gadā, intervijās medijiem Latvijas Radio 3 ’’Klasika’’ un laikrakstam ’’Diena’’ programmu raksturoja kā ’’muzikālu jūgendstilu par mīlestības tēmu ar ārkārtīgi poētisku tēlainību. Ļoti daudz dabas: vakars, rīts, saulaina diena, nakts. Rudenīgās lapas un jūras vaidi, ūdeņi mēnesgaismā un vējš vasaras naktī. Protams, ir daudz jūgendstilam raksturīgo puķu: rozes, ūdenslilija, efeja.Tur ir mīlas lirika visos tās aspektos: gan vispārinātā, pat reliģiskā, gan jutekliskā nozīmē. Mīlestība pret dabu un savu zemi. Mīlestība vienam pret otru, pret gadalaikiem un visu pasauli, kas tevi apskauj. Ļoti daudz melanholiskās smeldzes. Viss, ko vien varam iedomāties ar vārdu ’’mīlestība’’, ir rodams šajā programmā! Manuprāt, šī ir eleganta programma, ieturēta stilistiski vienā krāsā. Tur savijies nacionālais ar internacionālo. Mūzikā mani ārkārtīgi fascinē šis aspekts – kā tiek saglabāts īpatnējais un katrai tautai raksturīgais, bet reizē uzrunāts plašs cilvēku loks, un katrs tajā var atrast kaut ko savu. […]Rihards Štrauss toties ir ļoti operisks un ļoti intelektuāls. Viņš ir operisks sava dāsnuma ziņā. Tā ir krāšņa mūzika: dāsna faktūra, bagātīgas harmonijas, ārkārtīgi plašas frāzes, māka pārvaldīt jebkuru instrumentu. No dziedātājiem šī mūzika prasa nenormālu elpas pārvaldi un absolūti simtprocentīgu pārliecību. Štrausa mūzika ir gluži kā operteātra zāle ar vīna sarkanajiem sēdekļiem, tumšsarkano samta priekškaru un zeltītajām bārkstīm – dāsna, samtaina, zeltīta, mirdzoša, bagāta un intelektuāla. Bet man arī ārkārtīgi  patīk, kādu mūziku rakstījuši latviešu dižgari Jānis Mediņš un Alfrēds Kalniņš. Piemēram, saistībā ar Jāni Mediņu es uzreiz iedomājos jūgendstilu. Es redzu Alberta ielu, Rīgas jūgendstila arhitektūras mājas.’’

Kritika

"In "Das Rosenband", Latvian soprano Inga Kalna, in her debut solo album, and pianist Diana Ketler occupy similar late-Romantic terrain: familiar songs by Richard Strauss paired with novelties by two admired Latvians, Alfrēds Kalniņš (1879-1951) and Jānis Mediņš (1890-1966). Accomplished and atmospheric."

★ ★ ★ ★ ☆
Fiona Maddocks
The Guardian
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"Inga Kalna has sung lyric coloratura roles for the last 20 years, more recently becoming best-known for her Baroque and Mozart work. Kalna is Latvian, and there are two interesting twists to her new recording, Das Rosenband.

One is that she treats us to songs in her native language; the other, that she essays Strauss lieder, which from her previous recordings I might have thought were a touch heavy for her. Wrong again! Like Fomina, Kalna’s voice here provides surprising richness of tone and weight, plus a ravishing luminosity – her first phrases could almost be a mezzo, but she has a wonderful spin at the top. The Latvian songs are by Jāņis Mediņš and Alfrēds Kalniņš, two giants of that country’s Romanticism, and they have a sweep that matches the Strauss well. Kalna performs with pianist Diana Ketler who takes her opportunities to shine as well as supporting her singer.

So once again there is much enjoyment to be gained from a well-constructed recital. And I would like to compliment the cover: an attractive portrait of the singer at her glamorous best, engaging the viewer with a warm smile. It makes a pleasing change from the trend of dour performers staring us out as they slump."

Francis Muzzu
Rhinegold Publishing
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"A new disc from the Latvian label Skani (itself a division of the Latvian Music Information Centre) concentrates on fin-de-siècle, Art nouveau songs by Richard Strauss and two Latvian composers, Alfrēds Kalninš (1879-1951) and Jānis Medinš (1890-1966). Recorded at the Great Amber Concert Hall in Liepāja, Lavtia, Der Rosenband was released on January 15, 2021.

The mix of songs is the perfect balance between the well-known (Richard Strauss' Morgen, Zueignung) and an investigative spirit that informs the songs of Kalna's homeland. Understandably perhaps, when the pair performed the recital live at the Dzintani Concertt Hall as part of the Autumn Chamber Music Festival there, they received the Latvian Grand Music Award for "Best Chamber Music Performance".

Given Kalna's participation in several opera recordings and the excellence on display here, it is staggering to think that this is her debut solo recording. In addition to studies in Latvia and at London's Royal Academy of Music in performance, Kalna has also studied musicology at the Latvian Academy of Music, somthing which clearly informs her repertorie choices and contributes to the depth of her interpretations. Her opera recordings include Armida in Handel Rinaldo with René Jacobs on Harmonia Mundi, one of the Ladies in Zauberflöte with Muti. on DVD (Vienna, Decca) and Asprano in Vivaldi's opera Montezuma with Alan Curtis and Il Complesso Barocco on Archiv and she excels in the role of Lucio Cinna in the DVD of  Mozart's cruelly under-rated Lucio Silla at La Scala with Minkowski (C Major). Other forays into later music have included Hindemith Mathis der Maler and Franz Schmidt's oratorio Das Buch mit sieben Siegeln, both from Hamburg. When she took over at short notice from Anja Harteros in Marc Minkowski's Alcina at the Barbican in December 2010, citics sat up and took notice; as you will, surely, on hearing this beautiful and brilliant disc.

Diana Ketler's excellence (her virtuosity is much called upon on this disc) seems perhaps unsurprising when one considers she was soloist with the Latvian National Symphony Orchestra under the familiar name of Vassily Sinaisky at the tender age of eleven; she went on to study not only in Latvia but also the Salzburg Mozarteum.

This combination of musical excellence cemented by a lifelong friendship - and similarly longtime collaboration -  is what defines the performances of this disc. Lieder, and chamber music, is all about interpersonal give and take in performance. To hear voice and pianist as such equals is refreshing (it is also a major element in Marta Fontanals-Simmons and Lana Bode's excellent I and Silence featured on Classical Explorer here).

This is not Classical Explorer's first journey to Latvia, if you remember: the Latvian Radio Choir was the star of this disc of Bruckner Latin Motets. It is though another memorable (virtual, COVID-safe) trip. But here it is specifically Lieder under the microscope.

Riga-born Medinš (1890-1966) is a central figure in Latvian music; it is testament to the strength of his music that we don't feel him diminished by that song's proximity to Kalna and Ketler's radiant rendition of Richard Strauss' delectable Morgen!;

I'm guessing here, but if any Latvian composer represented here is to be known to non-Latvians, it would be Alfrēds Kalninš (1879-1951). I'd like to play his Efeja vija (The Ivy) as an example, not only. because the arpepggio pigures in the piano seem to link to Strauss' Morgen!, nor because of the cleverness of how the opening gesture morphs into a closing gesture at the end, but because it allows Diana Ketler's sensitive playing to shine.

Song was central to Kalninš' output - he wrote hundreds of them - and his assured compositional voice is evident throughout. His expressive pallette is huge: Jūras vaidi (The Meaning of the Sea) is like a cross between Schubert and Hugo Wolf.

And so on the eve of Valentine's Day, we have the titular track: Strauss' "Der Rosenband" from a set of four Lieder, Op. 36. This is a smply gorgeous song, a setting of Klopstock (you might find the odd melodic gesture reminds you of Strauss' later Vier letzte Lieder). One of the most famous of set song texts is the so-called Mignon's Song ("Kennst du das Land"). Kalninš' take, called Minjona, is adventurous and dramatic. 

Kalna sings with innate musicality and beauty throughout. Her Strauss Zueignung is less extrovert than some (Jessye Norman, I'm looking at you) but it is a heartfelt outpouring. Most importantly, though, it is the intelligence of the programming that allows Strauss and the Latvians to nestle so successfully together, offering differing differing takes on late Romanticism. And surely one of the crowning jewels of late Romanticism is Strauss' Cäcilie; and a great way to round off this fine recital."

Colin Clarke
Classical Explorer