A
great artist at the Teatro Real
HILDEGARD BEHRENS
dramatic soprano
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Immolation scene
-from Götterdämmerung
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Tristan und Isolde
Götterdämmerung
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Salome
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It was a concert program that called for voice, vigor and valor:
- WAGNER: "Liebestod" from Tristan
und Isolde, Immolation Scene from Gõtterdämmerung
- STRAUSS: Monologue from Elektra, Final Scene from Salome.
And she delivered
in living color, with a brilliance that turned the reuion into a LOVEFEST
with her Spanish audience!
Accompanied by the Sinfonica de Madrid under the baton of the renowned Swiss-American
conductor Francis
Travis, Ms. Behrens, "attacking with precision in a high
tessitura," enchanted the audience "with fine musicality and great
drama." In a valiant program such as this, there are bound to be less
than perfect moments, and there was such an instant in Salome when the audience
did wish for some orchestral modulation.
But perfection as such is not the only quality that makes a performance
memorable, as this one was without a doubt. And one could tell from the
superlatives that filled the next day's press reports that members of the
audience did have their own favorite moments. Some singled out the "Immolation
Scene as being possibly one of the Teatro Real's most grandiose moments,
the singer transfigured into the warrior-maiden of love, with a voice that
not only held all its colors but also grew in power and richness of timbre
- solid and resplendent, with an infinite capacity for transforming text
into poetry." And by all accounts, she was "absolutely sensational
in Elektra's monologue, completely becoming the tormented character - with
each syllable, each tone, each phrase alive with the intensity that has
been the hallmark of her career."
It was 13 years ago when she first enthralled Madrid in a production of
Salome at the Teatro de la Zarzuela. This concert celebrating her
return once again overwhelmed, leading one columnist to remark: "Ms.
Behrens passed through Madrid like a hurricane."
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HILDEGARD BEHRENS: she makes
music worth seeing!
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