Tannhäuser – Overture
Das Rosenband, Op.36/1; Ruhe, meine Seele, Op.27/1; Morgen, Op.27/4; Die heiligen drei Könige aus Morgenland, Op.56/6; Freundliche Vision, Op.48; Cäcilie, Op.27/2
Don Juan, Op.20
Salome, Op.54 – Dance of the Seven Veils; Closing Scene
Angela Denoke (soprano)
Reviewed by: Kevin Rogers
Reviewed: 30 January, 2014
Venue: Southbank Centre, London – Royal Festival Hall
Much more successful was Jordan and the Philharmonia’s interaction with Angela Denoke. Her colouring of the vocal lines was ravishing. ‘Das Rosenband’ was dispatched wistfully, whilst in ‘Ruhe Meine Seele’, the Philharmonia’s strings wonderfully dark and foreboding, Denoke searched out a beautifully contrasting calm and generated much mystery. ‘Cäcilie’ roused all participants, with its burning desire, the Philharmonia’s strings now silkily ravishing, and distinguished by Denoke’s innate sympathy for the words.
A year ago this month at this venue Karita Mattila performed the ‘Closing Scene’ from Salome with another SBC resident ensemble, the London Philharmonic, with Vladimir Jurowski conducting, a reading of such visceral force that one feels a chill even now when recalling it. Denoke’s Salome was a very different beast: less overt in her sexual desire for the head of John the Baptist, and more a Salome that flashes menacing sideway glances that are as cutting as an executioner’s blade. She compelled as much as Mattila had done, riding veering emotions with terrifying identification and cutting through the orchestral waves with ease. As during the preceding ‘Dance of the Seven Veils’, Jordan and the Philharmonia were on suitably vivid form. The orchestra has much more Richard Strauss to come, not least with Christoph von Dohnányi (Ein Heldenleben) and Lorin Maazel (Also sprach Zarathustra and An Alpine Symphony, tantalisingly paired in one concert, and Till Eulenspiegel).