blending an assortment of thoughts and experiences for my friends, relations and kindred spirit

blending an assortment of thoughts and experiences for my friends, relations and kindred spirit
By Alison Hobbs, blending a mixture of thoughts and experiences for friends, relations and kindred spirits.

Saturday, November 6, 2010

Listening to Mrs Mozart

Diana Gilchrist and her husband Shelley Katz performed at a private house last month. Wearing a curly wig and a high-waisted, early nineteenth century dress, she was "Mrs. Mozart" for the evening and he played the ghost of the great man himself, accompanying her at the piano.

Pretending to relive her life with Mozart, the pianist in the background playing one of his sonatas as if in her imagination, she read from her "journal" sitting at a small table set with an antique cup and saucer before getting up to sing Abendempfindung, in which the listener's flowing tears are supposed to become the pearls in her crown(!) It is a song of some length and the breathing for it is challenging—I know the long phrases of this one. It was brave of Ms Gilchrist to make this the first item on her programme.

Going back to her chronicle and having reminisced about Mozart's attraction to her elder sister Aloysia, a professional singer at the Viennese court, "Mrs Mozart" then demonstrated the Aria from the C minor mass, Et incarnatus est (click here for a lovely rendition of it by the French soprano Annick Massis), which Mozart had written for her, Constanze, after their marriage. Furthermore, his opera Die Entführung aus dem Serail has a character called Constanze in it, who sings the recitative and aria, Welcher Wechsel herrscht in meiner Seele. We heard this next.

Too much vibrato in this soprano voice for my taste, although Ms. Gilchrist did try to hold the resonance back to suit the confines of the small space we sat in, but when she performed the coloratura Queen of the Night's aria from the second act of The Magic Flute, Der Hölle Rache kocht in meinem Herze, she was absolutely magnificent, perfect tone, great acting and all the notes! It was probably the best performance of this aria we've ever heard.

The concert finished with Vorrei spiegarvi, o Dio, another stand-alone aria, very Romantic in a 19th century sense (ahead of its time), and climaxing on an incredibly high note, a top G, I think. She hit it flawlessly.

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