Recital - Winterreise

Simon and Roger Vignoles will perform Schubert's 'Winterreise' in Barcelona on 18 November 2023, as part of the Lied Festival Victoria de los Ángeles 2023-24

Programme

Franz Schubert - Winterreise D911

This concert is now available to watch online via the website  myoperaplayer.com

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SOUNDBITES

"The LIFE Victoria Festival once again brought us Franz Schubert 's iconic Winterreise, but not in any standard version, but in an exceptionally masterful one, given to us by baritone Simon Keenlyside and pianist Roger Vignoles. Saturday 18 November at the AXA Auditorium we felt the winter cold get under our skin and freeze our souls....

...Keenlyside's voice, wide, beautiful and velvety, made all kinds of expressive inflections that went far beyond stylistic correction and were the bricks with which he built the story of a man alone, lost and abandoned in the frost of a very harsh winter. The realism with which he manifested himself was that of someone who is possessed by the spirit of the character he brings to life...

Keenlyside gave a performance that went far beyond any we've heard so far.... Listening to him was a terrible and wonderful experience at the same time..."

Translation from the original Catalan by Google Translate

"..Seguramente lo primero sería hablar del estado vocal de Simon Keenlyside, porque todos cumplimos años, y él ha cumplido sesenta y cuatro. Se puede resumir en una palabra: admirable. Vino a Barcelona entre funciones de Rigoletto en el Covent Garden y no se apreció el menor signo de fatiga ni de desgaste. Si algo me sorprendió fueron unos graves que no recordaba tan contundentes (en “Gefrorne Tränen”, por ejemplo); por lo demás, la flexibilidad y la capacidad de colorear marca de la casa seguían allí, como siempre, como seguía la expresividad, porque eso no tiene que ver con los años....

Escuchamos una historia tantas veces contada, pero fue su historia. La rabia de “Gute Nacht”, que no ocultaba la fragilidad del enamorado ni la pena de la despedida; la ansiedad de “Erstarrung”. La nostalgia al inicio de “Der Lindenbaum” y la imagen amenazadora del final. La tristeza de “Rast”, y esa manera de decir “wurm”, de sentir ese gusano que roe infatigable el corazón del caminante. Contrastando con la música luminosa de “Frühlingstraum”, el dolor de la añoranza. A partir de ahí, quizá la certeza de que el pasado nunca volverá y el convencimiento paulatino de que no hay futuro. La sinceridad de “Im Dorfe” (“Ich bin zu Ende mit allen Träumen”, “Ya no me quedan sueños”). Un estremecedor “Der Wegweiser”; la angustia de esas palabras, “ohne Ruh', und suche Ruh'" (“sin reposo, y busco reposo”) dejaban sin aliento.

¿Cómo llegó nuestro caminante a “Der Leiermann”? Con una lucidez que cortó cualquier hilo de esperanza que nos pudiera quedar. La manera de decir de Keenlyside atrapa; describió de tal manera al músico ambulante que le vimos; al menos, esta cronista lo vio. Sus pies descalzos, su miseria, los gruñidos de los perros, su estar ajeno a todo. Y viendo esta imagen, la última pregunta del caminante fue como un bofetón.

Lo que les decía: a los aficionados del lied nos gusta que nos hagan sufrir. Y vaya si sufrimos. "

"..Surely the first thing would be to talk about Simon Keenlyside's vocal status, because we are all turning years old, and he has turned sixty-four. It can be summed up in one word: admirable. He came to Barcelona between performances of Rigoletto at Covent Garden and there was not the slightest sign of fatigue or wear and tear. If something surprised me, it was some bass that I didn't remember being so forceful (in “Geforne Tränen”, for example); For the rest, the flexibility and his trademark ability to colour were still there, as always, as was the expressiveness, because that has nothing to do with age...

We heard a story told so many times, but it was his story. The rage of “Gute Nacht”, which did not hide the fragility of the lover or the pain of parting; the anxiety of “Erstarrung”. The nostalgia at the beginning of “Der Lindenbaum” and the threatening image at the end. The sadness of “Rast”, and that way of saying “ wurm”, of feeling that worm that tirelessly gnaws at the heart of the walker. Contrasting with the luminous music of “Frühlingstraum”, the pain of longing. From there, perhaps the certainty that the past will never return and the gradual conviction that there is no future. The sincerity of “Im Dorfe” (“ Ich bin zu Ende mit allen Träumen”, “ I have no more dreams”). A shocking “Der Wegweiser”; The anguish of those words, “ ohne Ruh', und suche Ruh' " ("without rest, and I seek rest") left us breathless.

How did our walker get to “Der Leiermann”? With a lucidity that cut any thread of hope we might have left. Keenlyside's way of saying is captivating; He described the travelling musician in such a way that we saw him; at least, this chronicler saw it. His bare feet, his misery, the growling of the dogs, his being oblivious to everything. And seeing this image, the walker's last question was like a slap in the face.

What I told them: we lied fans like to be made to suffer. And boy do we suffer. "

Translation from the original Spanish by Google Translate

Our sincere thanks to Marc Busquets of the Fundació Victoria de los Ángeles Lied Festival (LIFE Victoria Barcelona) for permission to use the official photographs of this recital in the photo gallery below. All photos are copyright Elisenda Canals. You can follow the Foundation on Twitter and Instagram @lifevictoriabcn