Barbara Hannigan: Concert Documentary by Barbara Hannigan, and: Lulu by Alban Berg (review)
Notice bibliographique
Résumé
Reviewed by: Barbara Hannigan: Concert Documentaryby Barbara Hannigan, and: Luluby Alban Berg Morgan Rich Barbara Hannigan: Concert Documentary. DVD. Barbara Hannigan / Mahler Chamber Orchestra. Directed by Michael Beyer and Barbara Seiler. [Leipzig]: Accentus Music, 2014. ACC20327. $24.99. Alban Berg. Lulu. DVD. Paul Daniel / Orchestre Symphonique de la Monnaie. Directed by Krzysztof Warlikowski. With Barbara Hannigan, Natascha Petrinsky, Frances Bourne, Tom Randale, Dietrich Henschel, Charles Workman, Pavlo Hunka, Ivan Ludlow, et al.[Paris]: BelAir Classiques, 2014. BAC109. $29.99. Known for her vocal prowess and remarkable musicianship, Canadian coloratura soprano Barbara Hannigan demonstrates, in these two DVDs, that she is as comfortable performing Ligeti’s works as Mozart arias, but also just as comfortable conducting an orchestra as she is performing daring renditions of Lulu, on pointe, or Mysteries of the Macabre. The Concert Documentary DVD comes out of the 2014 Lucerne Festival and features the Mahler Chamber Orchestra. The program includes: Gioachino Rossini’s Overture to La scala di seta; Wolfgang Amadeus Mozart’s Vado, ma dove? O Dei!, Un moto di gioia, and Misera, dove son?; Gabriel Fauré’s Pelléas et Mélisande, op. 80; and Györgi Ligeti’s Con -cert Românescand Mysteries of the Macabre. The 2014 release of Luluwas filmed during the 19 and 26 October 2012 performances of the opera at La Monnaie in Brussels, under the direction of Krzystof Warlikowski and baton of Paul Daniel, featuring Hannigan in the title role. Hannigan’s performance of Ligeti’s Mysteries of the Macabreis the highlight of the Concert Documentary DVD. Ligeti’s Mysteries, three arias from his opera Le Grand Macabre(1974–77/96), was prepared for soprano and piano in 1992 by the composer and arranged by Elgar Howarth. Hannigan has made a name for herself with her twist on Mysteries, documented on this DVD by her experience as conductor, vocalist, and actress. The program as a whole highlights Hannigan’s vocal color and agility, but her Ligeti is a “must see” for vocalists or audiences interested in a performance representing the highest understanding of the intimate details of this masterpiece of twentieth-century music. This DVD offers an important look at what it means to be a versatile musician; Hannigan excels in conducting Ligeti’s little-performed Concert Românesc(1951/rev. 1996) along with performing and conducting Fauré, Mozart, and Rossini. For those who like to “get to know” performing artists, the documentary portion of the DVD, “I’m a creative animal,” provides footage of Hannigan discussing her background; views of her as a working, practicing, and a teaching musician; and scenes from her rehearsals at the 2014 Lucerne Festival as a conductor and as she prepared to perform Unsuk Chin’s “Le Silence des Sirènes” in the same summer. Hannigan’s hunger for new musical experiences and commitment to improving her artistic craft is evident in every scene. Krzysztof Warlikowski’s 2012 production of Alban Berg’s Lulu, featuring Hannigan as the title character, is provocative and at times, salacious. While all of the lead characters offer remarkable performances of their roles, especially Dietrich Henschel as [End Page 597]Dr. Schön/Jack the Ripper and Charles Workman as Alwa, Warlikowski’s production sensationalizes material that is already, by its nature, grotesque and sexy. He chose to infantilize Lulu, making her a victim of circumstances. He draws a literal relationship, on stage, by employing adolescent ballet dancers to represent the adult characters; this at times falls flat, and becomes extraneous stage fodder. Hannigan’s timbre and acting, however, sell the victimized, childlike aspect of Lulu. Her remarkable performance has her singing some of the most difficult vocal lines in Acts 1 and 2 on pointe, or while mimicking sex acts. The importance Warnikowski places on culturally coded references detracts from the material at hand, and often from the stellar performance by the performers. The use of classical ballet connects Lulu to Odette/Odile of Swan Lakeas well as Darren Arnofsky’s 2010 film Black Swan, associating the downfall of Lulu to the main character in the film, who loses her grip on reality and begins living a nightmare. The second inference (and...
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction machine sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Le volet Gemma est une étiquette directe du modèle pour chaque travail de la base, lue sur la notice réduite au titre. Le volet Codex est un classifieur appris des 10 348 étiquettes directes de Codex et calibré sur les taux pondérés de l'échantillon; les champs sans appui suffisant ne portent aucun appel Codex. Le mode candidate est l'union des deux volets; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont pas des étiquettes humaines.
Scores du classifieur distillé par catégorie (deux têtes)
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,001 | 0,004 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,000 |
| Méta-épidémiologie (sens large) | 0,001 | 0,001 |
| Bibliométrie | 0,002 | 0,002 |
| Études des sciences et des technologies | 0,001 | 0,000 |
| Communication savante | 0,003 | 0,002 |
| Science ouverte | 0,002 | 0,001 |
| Intégrité de la recherche | 0,002 | 0,003 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,144 | 0,078 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule source (Gemma direct ou Codex distillé), pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».