THE STAGE THAT MEANS THE WORLD ...
are Jochen Kowalski's home. Here he is feeling happy in any
foreign city, too. And by this time he has not entered few ones - such with
world-wide glory and smaller ones. Even mass-events, such as the annual Classic
Open air on the Berlin Gendarmenmarkt or the jubelee gala of "Berliner
Morgenpost" of this year in the Max-Schmeling-Halle Berlin, which is
already once a scene for the booming boxing-matches in Germany, are not strange
to him. Occasionally one even has the impression that Mr Kowalski has the more
fun, the larger the stage and the more audience there is.
The repertory is widely spread, biography and
recordings are proving that. Kowalski is going
new ways and is sometimes surprising the audience and the critics likewise. He
often is in for the problem as well that compositions do not correspond to his
type of voice. Then it has just to be transposed. He does not have any problems
with it, this particularly was not just unusual in 'the days of yore'.
Referring to the present time, Kowalski is more important than a stringent
historic scene practice with which he would not always fall in with the
understanding in the circle of several critics or star-conductors, too. The
audience often thinks differently, and Kowalski has created greater
'elbow-rooms' for other countertenors by his dashes into uneven fields. It is
also his merit that male alto-singers or sopranists are on the agenda in the
meantime.
The milestones in the career of the alto-singer have already
been mentioned in the biography. On the following pages you will find a list of
important productions or concert-programmes (Liederabende) of past and present
time that will be completed by comments of critics in part (translated by
myself and therefore without assurance for correctness). Besides, you can click
further to the calendar that listed Jochen
Kowalski's future performances.
IN THE OPERA ...
The opera is for Kowalski not something that is dusty, quixotic
or ignorant of the world but of our time and actual. He is breathing life into
his figures. He cannot aquire for the tradition of English countertenors - too
sophisticated, there not many comes from the very heart. Kowalski's natural
voice allows it to him to sing with all his body, sensibly and passionately. -
That's why he was predestinated for the Komische Oper Berlin, which is adhered
to the Felsenstein principle of the musical-theatre respectively to the
actor-singer. The Komische Oper found such one in Jochen Kowalski.
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The Boris Godunow (Mussorgski, 1874) was the first
opera in which Jochen Kowalski was débuting in the role of the Tsar's
son Fjodor at the Komische Oper Berlin. Besides there was already
to be seen the Godunow in Amsterdam before the political transformation of
Eastern Germany, too. |
'The mature connection between father and son became to one of
the bearing axes in Kupfer's 'Primary-Boris'-Production because of the ideal
cooperation with the stage manager not at last. The familiar-dynastic
background of the political intrigue got a dramatical obligation and acuteness
that no ever so appropriate breeches part might have obtained.' (Boris
Kehrmann, "Ich bin verrückt nach Melodien, Jochen Kowalski - ein
Porträt" in: Opernwelt, April 1997, p. 26)
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Haendel's Giustino (1737) was standing on the programme (1984) as
the next, and it became imaginable for the
Komische Oper
with Kowalski in the title-role on the whole at all. ''Guistino' was the
breakthrough in the East in 1984: for countertenors, for a more distinctive
Haendel-picture and for Jochen Kowalski.' (Boris Kehrmann, "Ich bin
verrückt nach Melodien, Jochen Kowalski -ein Porträt" in:
Opernwelt, April 1997, p. 27)
Kupfer was putting the work on the stage in an ironical-gambled manner. The
sporadically very fantastic theme is involving that perhaps. Favourites of the
audience are the affectionatly created animal-figures, which always get a
special applause and have already become something like a running gag at
the Komische Oper. Guistino was already to be seen in Munich, Vienna,
Dresden, Amsterdam, London and Wiesbaden. Besides that, there is a
TV-recording. The opera is still performed at the Komische Oper, however
sometimes, with the colleague-singer Axel Köhler in the title-part. |
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In 1985 Kowalski was standing as Daniel in Belshazzar
(Haendel, 1744) on the stage at the Hamburgische Staatsoper. The scenic
adaptation of Haendel's oratorio was causing a great sensation internationally,
and it was perpetuated as a TV-recording. Unfortunatly the performances in
Spring/ Summer 1998 at the Semperoper Dresden (Kupfer's staging as well) were the last
ones. Kowalski as Daniel in Belshazzar is over now.
- What a pity! |
'The precious moments at the theatre are not that of the impetuous
jubilation but that of an impressed spellbound silence, which precedes it. You
cannot frequently experience them, but now with great intensity at the
première of Harry Kupfer's scenic version of Haendel's Oratory
'Belsazar' ...' (Homepage of
the Semperoper, "Belsazar" in: Berliner Morgenpost, 8th March,
1994)
'The stage manager Harry Kupfer was making from the hybrid an affecting
theatre evening. He was demonstrating the youngest German past without doing
violence to the dramatic work. And it was succeeding because the making of
actuality was entering into a happy liaison with Kowalski's artistic skill.'
(Homepage of the
Semperoper, "Belsazar" in: Die Welt, 8th March, 1994)
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Besides there was to be seen Mozart's Titus (La clemenza di Tito,
1791) with Jochen Kowalski in the role of Annio in Hamburg. |
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Jochen Kowalskis dream role is the Orfeo from Orfeo ed
Euridice by Gluck (1762). The opera is to be seen in Harry Kupfers
excellent, modern and metaphorical staging at the
Komische Oper
since 1987. The figure seems to be tailored to fit Kowalski. Emotionally-loaded
and passionatly it seems to meet the alto-singer better than so many a baroque
part that is losing itself sometimes in adornments and decorations. Kowalski is
playing the Orfeo with all his devotion. The actor-singer's
conception is hardly demonstrated more evidently. That's probably why the
Orfeo became the greatest success for the team of Kupfer/Kowalski,
too. In 1991, for example, Kowalski was seen in a new rehearsal at the Royal
Opera House Covent Garden. On this occasion a video-recording came into being. By the way,
there is also a CD with the complete
recording with Dagmar Schellenberger as Euridice. While the
Komische Oper is presenting the Italian original version by Gluck in German
language (unfortunatly?) and shortened of the inserted ballet in the 3th act
(for good reasons), the CD in the Italian language has been recorded
completely.
In May 1999 the Leipzig Gewandhaus will produce a staging of Orfeo ed
Euridice once more with Kowalski in the title-role. |
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In Haendel's Giulio Cesare (1721) Kowalski was singing once the part
of Tolomeo, once the part of the title-hero in Düsseldorf,
Paris (1986) and at the
Komische Oper.
The opera will become its revival in September 1998 at the Komische Oper.
Kowalski will sing the Cesare then. |
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In A Midsummer Nights Dream by Britten (1960) you could see Kowalski
as Oberon in the various productions (Frankfurt a. Main; New York,
1996/97), at last in the more than impressing version by Philippe Arlaud at the
Wiener
Volksoper (March 1998 and again from October 1998 - Calendar). Above all the surrealistic scenery and
light and special effects (echo, fog) let become the time in the opera to a
dream, from which you unfortunatly awake after three hours. Arlaud manages it
without indicating a single tree, too, to produce by magic a forest-atmosphere
that meets the opera completely. The agil Puck, excellently played by Karl
Markovics (Germans known as commissioner Stockinger from TV), is breathing life
into it. Another plus-point is the performance of the craftsmen, who Arlaud is
consciously sketching in the sense of Britten and less in Shakespeare's
intellect. It means they are not sketchily, reduced on hamlet idiots, but they
are seriously taken in their intentions and peculiarities. Arlaud formulated in
Vienna that, on the whole, I had wished myself the Midsummer Nights Dream
vaguely. |
'It is rather nasty and quarrelsome in the scope of Britten's A Midsummer
Nights Dream, by no means, it is resembling that the world of humanism in
this staging by Philippe Arlaud, of course. Although Oberon (blamelessly
artistic Jochen Kowalski) is also reading Puck the levity, he is remaining a
removed - elegant figure in the Volksoper, yet, whose gestures are impressed on
a poetry of slowness and kept the fairy-king appearing as a sublime figure of
art, even in moments of wrath. (...) However, between them is Puck, the
perpetually astonishing clown, whom Arlaud makes the running gag of this
staging and to a permanently gestural counterpoint. As if he was escaped from a
circus-ring, the tormentor (excellent Karl Markovics) is carrying by his
clownish roguish and acrobatic play on all seriousness.
Of course, this Midsummer Nights Dream is never becoming a shrill
circus-event. (...)
In the centre of Midsummer Nights-Room is a spirally winding up
creation. It is the way that the fairy-world is gliding down, it is the
boundary between the spheres.
Nevertheless, it is a permanently varying in light foundation of a thoroughly
succeded staging that is living from the rich couloured and decent work of the
whole company and of Andreas Mitisek's orchestra.' (Ljubisa Tosic,
"Opernpoesie der Langsamkeit" in:
Der Standard (Vienna), 02nd
March, 1998, p. 10)
'Otherwise, the stage-manager and the stage-designer wonderfully succeeded
in translating the dreamy-weightless pattern to a perfect unity of optic,
performance and mobility congenially. The phantastic architecture of the subtly
outlighted turning-stage belongs to it (...); as also the costumes of Annette
Beaufaýs, which contrast the three action-planes from each other
elegantly, and a phenomenally led company. (...)
The time has unfortunatly not gone lay on the countertenor Jochen Kowalski
tracklessly, all the protagonists, with the exception of the miscasted
Hyppolyta, are deserving a lump praise.' (Gerhard Kramer, "Geniale
Klänge in schwereloses Zauberlicht getaucht" in: Die Presse (Vienna),
02nd March, 1998, p. 22)
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The Fledermaus (The Bat) by Johann Strauß (1874) is offering
with the part of the Prince Orlofsky an, on the first view,
unaccustomed field of practice for an alto-singer, but it is well received by
the audience. In the meantime, you can see other countertenors in this role as
well. Kowalski obviously likes exposing himself to this champagne-happiness
simulating atmosphere what he was furnishing proof of at the gala-performance
on the occasion of the 50th birthday of the Komische Oper (Christmas, 1997). -
There he was quite in his element. Besides the production of Harry Kupfer
(since 1995, Komische Oper), which wants to render the perfidious
intrigues of the backyard, there were further in Vienna, 1986, 1991; London (video with the colleague-singer Pavarotti),
1991; Hamburg, 1992?, 1996 - 1998 and New York, 1994, 1995, where
Kowalski as the Russian Prince is enjoying a state of cult in between. By the
way, a documentary film was shooted on Kupfer's Fledermaus with the
title 'Die Rache der Fledermaus' (The Revenge of the Fledermaus) by the
TV-Channels WDR (West German
Radio) and arte (Authors: Hubert Ortkemper, Manfred Strastil, 1996). |
'Kupfer's excellent leading of persons is celebrating new triumphs with the
fast, poignant, socialsharpened preparing of this backyard-intrigues. The
critique on the decadent upstarts is peeping out without a lifted forefinger.
With this Yakov Kreizberg is deeply touching in the dramatical stage of the
note-network with the precisely and brilliantly performing orchestra, and he is
feathering the swinging sounds from the lowlands of the highlands of exciting
musical theatre. He presents heartily prickly mineral water from the river
Spree instead of charming champagne.
Dagmar Schellenberger as a cute race-woman Rosalinde is cooing with a magnifier
soprano-art and is flavouring the Hungarian moments with paprika. (...)
Excellently decadent the alto Jochen Kowalski is acting as a sophisticated
Orlofsky with enormous charisma. It is a master-piece, exactly as the jailer
Frosch of Otto Sander who is taking the hearts of the spectators by storm
between stale jokes and cabaret points.' (Peter Buske, "Hemmungsloses
Amüsement - Ovationen für Kupfers Inszenierung der Fledermaus
an der Komischen Oper" in:
Berliner Zeitung Online,
17th October, 1995)
'Thus the spark is kindling at the atmospheric keyed up performance of the
Kupfer-production that is running so oiled as the lift in the staircase-scenery
of Hans Schavernoch, (...)
The great conductor Yakov Kreizberg seems to feel the recommendations of the
composition teacher Schönberg in this, too that with such a music the
depth of the performance must not destroy the smoothness of the surface. The
orchestra of the Komische Oper is managing both under his conduction.
Everything is sounding like new rehearsed in elegance, flexibility and
precision, jointly breathed, especially, as the ouverture and the with bravos
honoured entre-act at the second scene, genuine Allegro fuoco, are
preciousnesses of orchestra-culture. Of the many Fledermauses, which now are
fluttering through the theatres, that of the Komische Oper might be the
musically finest.' (Sybill Mahlke, "Sie laden gern sich Gäste
ein" in: Berliner
Zeitung Online, 24th December, 1997)
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Mitridate, Rè di Ponto, an early work of Mozart (1770), as
opera seria equipped with castrato-roles was being put on the
stage at the Royal Opera House Covent Garden in 1991. Kowalski was singing the
Farnace. Although he is withdrawing himself corresponding the
production, the actor-singer is coming to light and is contrasting with the
rest of the actors. Above all, the scenery is attracting with a vast reduction
on basic forms and colours. In contrast to it, the costumes stand in a
rococo-style, which gives the whole thing a historical, but (properly
corresponding the sujet of the opera) no antique touch. Costumes and scenery
are overcome by a clear symbolism of colours. There is also a
video-recording of it. |
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L 'incoronazione di Poppea by Monteverdi (1642) was put on the stage
with Kowalski on the occasion of several festivals, for example the Salzburger
Festival in 1993. Here he was singing the Ottone, the disdained
lover of Poppea, under Nikolaus Harnoncourt. |
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At the Deutsche Staatsoper Berlin Kowalski was the first male
Tancredi (Rossini) in 1994. The opera isn't in the repertory of the
Berlin Staatsopera any more. |
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In 1995 Rolf Liebermann was expressly fetching Kowalski to the Hamburgische
Staatsoper, in order to keep him singing the part of Kreon who is
seducing the sovereign, in his tragedy Freispruch für Medea
(Acquittal for Medea). The opera was also recorded (CD). |
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In 1991 Georg Katzer's Antigone oder Die Stadt (Antigone or The
City) was performed at the Komische Oper with Kowalski in the cast of
Teiresias. |
There are two new productions of the Komische Oper in
1999, on which Kowalski takes part:
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At the end of January 1999 the operetta Orpheus in der Unterwelt by
Jacques Offenbach (1858) had its première at the
Komische Oper,
in which Kowalski plays the Orpheus. Here it meets again the old and approved
team - stage-manager: Harry Kupfer, stage-designer: Hans Schavernoch that
already Orfeo ed Euridice has made to a worldwide success. However, the
critiques haven't been very positive. Above all the staging by Kupfer has been
described as 'petty-bourgeois' and childish.
The performance has been broadcasted by 3sat/ZDF. |
'And it goes on from scene to scene with the dull erotic of a
petty-bourgeoisie: embarrassing, provincial, childish. (...) One starts to asks
himself very soon why Kupfer doesn't trust the sparkling, elegant irony of
Offenbach, why does he want to trample down the fine, witty mythologic parody
with gross humour?' (Frederik Hansen, "Unter der Gürtellinie"
in: Der Tagesspiegel
(Berlin), 25th January, 1999)
'At Offenbach the difference between original and parody has been clear. The
pointed break of convention lead to the comical. In the new staging of
Offenbach's "Orpheus" by Harry Kupfer at the Komische Oper this
distinction stays nebulous. Kupfer tries to maintain distance to both the
conventions - the antique praise of faithfulness and the Offenbach peppy droll
story. Re-using parts of his own staging of 'Orfeo ed Euridice' by Gluck and
with counter-tenor Jochen Kowalski (sovereign but without the
usual brilliance) once again in the title-role, Kupfer gives himself the chance
to deride himself. (...) But Kupfer's intention isn't interpretation. His
staging gets lost in hokum and allusions, sometimes with irony but often
without. Everything is just indicated, used is it never.' (Stefan Melle,
"Die Hölle hat einen riesigen Mund" in:
Berliner Zeitung Online,
25th January, 1999)
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At the 2nd of May, 1999 the première of Saul, a
Haendel-oratorio, took place at the
Komische Oper.
Jochen Kowalski sings the part of David alternating with Axel
Köhler. With that another time (like Belshazzar) an oratorio has
been put into scene. This time, however, not by Harry Kupfer, but by the still
unknown stage-manager Anthony Pilavachi. The staging is rather traditional,
from time to time not thought to an end and has little surprises. However, the
illustration of the oratorio definitely was successful as too much of
interpretation would have gone contrary to Haendel's music. Automatically the
question arises whether such an oratorio needs visual effects at all? The
director of music Alan Hacker interprets the oratorio entirely in the sense of
English Haendel-enthusiasm - fresh, full of verve and with dramatic
accentuations. The joy of playing of the performers also at Saul
electrifies the audience as usual at the Komische Oper. |
'A great evening at the opera with an oratorio: The Komische Oper shows
"Saul" by Haendel as if the piece would not have been created for the
concert hall but for the stage from the very beginning on. (...) Kowalski, home
in his original repertory, shows all finesses of singing in an infatuating way
and with vocal polishing. He sings delicate, with beautiful sound and lithe.
Since a long time one hasn't heard him formulating with such a high artistic
reflection. From head to the naked foot he is devotedly serious and keeps away
from all singing coquetry. (...) Alan Hacker conducting in his wheelchair is
leading and guiding the orchestra. (...) Nothing is there of imitation and an
anyhow always questionable authenticity. Hacker is it about musical liveliness,
dramatic intensity - about the whole of Haendel not about a poor copy.' (Klaus
Geitel "Barfuß unter Wölfen" in:
Berliner Morgenpost
Internet-Archiv, 04th May, 1999)
'Solely looked at the methods which Anthony Pilavachi uses in his staging of
"Saul" by Georg Friedrich Haendel at the Komische Oper they seem
strangely old-fashioned: There is a concept which determines all the scenic
events in an authoritarian way and doesn't leave place for unexpected ideas.
There is modernisation which is that little original that it lacks the singlest
edge. (...) Nevertheless the myth proves successful through the variety of
plausible possibilities of reading it. What the first book Samuel hands down is
a story of mercy and a chosen man (...) Charles Jennens, Haendel's
libretto-writer, gives this in the bible obligate perspective up. (...)
Pilavachi goes even further with the secularization of the piece: He is almost
not interested in the inner fights of persons, neither of Saul nor of Jonathan
(...) Pilavachi reads the text as a study on mass and power, as the story of
David who is chosen by the many as a hero in order to replace the ruling and
the class which is distant from people. (...) And from here on [I. Act, Scene
3, author] the piece has little material for Pilavachi's actually quite
conclusive idea. (...) The lack of theatrical sensuality in Pilavachi's staging
is not a drawback as long as his signs can keep the intellect busy and throw
light on certain sides of the piece. Pleasant in this staging is that the
staging director hasn't read anything into the piece but has detected
something. (...) The mass of the people stood also in musical terms out at the
première on Sunday: Taking into account the dimension and the conditions
for acting Peter Wodner who rehearsed the choir of the Komische Oper achieved
truly outstanding precision and strength.' (Peter Uehling, "Die menschlich
genährte Schlange" in:
Berliner Zeitung Online,
04th May, 1999)
'At the Komische Oper Berlin the staging director Anthony Pilavachi allows
the shepherd a moment of hesitation who already has been promoted to be a well
uniformed warrior: David wants to give the sword back and is however forced to
take it together with the coat of the king as disobedience means a loss of the
protection by God. This trial of a conscientious objection shown at the end
stands for the striking moments of the performance.' (Sybill Mahlke "Der
Schafhirt muß Feldherr sein" in:
Der Tagesspiegel
(Berlin), 04th May, 1999)
IN THE CONCERT HALL ...
Oratorios and 'Liederabend' (lieder recital) belong to it for
Kowalski from the very beginning. Early in 1997, an interviewer was getting the
following answer when he was asking, what Kowalski liked best, operas or
Liederabend: 'Truly said, at the moment more the Liederabend. There one is only
placed on oneself and is independent of an orchestra, conductor, light and
costumes. On this evenings, singers, pianists, and the audience can enter into
a triple love-relation. It is a wonderful thing if you can tell stories.'
(Volker Blech, "Liebesbeziehung zur Schönen Müllerin" from:
Berliner Morgenpost
Internet-Archiv, 14th January, 1997)
Hither to Kowalski was a guest on a lot of stages and festivals including
Munich, Vienna, Pompeji, Madrid, Helsinki, Copenhagen and Tokyo, at the
Sleswick-Holstein Festival and the Schubertiaden in Hohenems.
In this field, too, he is emulating Fritz Wunderlich. Whom does it astonish
that the selection of programmes often reminded of him.
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Schumann's Dichterliebe and Lieder of Beethoven and Mozart were, as
to some extent, already by Wunderlich (Deutsche Grammophon, 1965), comprehended
and recorded on CD besides
stage-performances. |
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Schütz, Scarlatti, Paisiello, Telemann, Hasse, Rossini, Donizetti,
Schubert, Mahler are/were at the programme by turns. |
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As a younger product (as CD, too), there
is Schubert's Die Schöne Müllerin - a venture for the alto, he
is in the field of outstanding tenors and baritones at last. And so doubtful
voices were heard before the performance at the Komische Oper (January, 1997):
The Müllerin in the alto-register, how can that go? But Kowalski
was convincing (the most of them at least) and not only in Berlin, where there
was the 'new' Kowalski coming to the people's ears relatively late, but already
with a sensual-decent Müllerin in Vienna or other concert-halls of
Europe and Asia. Kowalskis Müllerin is going to meet the one of
Wunderlich (Deutsche Grammophon, 1966) very capaciously. |
'A very well and very seriously outworked cycle. You are feeling Kowalski's
thoughts and will of expression to every poem and song. He is leading his voice
technical-immaculatly, and his transporting with it simplicity and intimacy
particularly credibly (Morgengruß/Die liebe Farbe/Des Baches Wiegenlied).
But he is in a want of the necessary bite and the power for the furious
Müllerbursche (Der Jäger/Eifersucht und Stolz). ("Leise
Müllerin, makellose Müllerin" in:
Hamburger Morgenpost Online,
27th January, 1997)
'When it is said in the 7th Lied 'Ungeduld': 'Dein ist mein Herz' (My heart
is Yours), Kowalski is pathetically touching deeply there. We are moved.
Nevertheless, we would like it somewhat more simply, narratively, differently,
more clearly, too. Kowalski is trusting in the outer effect too much, instead
of catching the cycle psychologically out of the very heart. Every gesture is
remaining, once for all the same, of which contents, music and text are. That
from Schubert subtly formed private thing is pressed into the public one, it is
laid stress on every word, even then when it must not have one.
During the performance one can't hardly release from the thought that a
baritone would intercede the poor young man's way of passion more
authentically. Kowalski's alto-voice is not coming out of a fistulous
espressivo. He is plainly offering too little colour and power. This voice is
scraping, croaking, rustling in the middle-range, it is hoarsely sounding
sometimes, Kowalski is finding many a tone only nearly.' (Jürgen Otten,
"Da faßt sich der Sänger ans Herz" in:
Berliner Zeitung, 18th
January, 1997, p. 12)
'The Schöne Müllerin is not getting such a tender
declaration of love every day. Jochen Kowalski is approaching the maiden of
Schubert's Lieder-cycle with a natural instinct. The alto is not knowing any
pathos, he cannot be carried away with theatrical gestures by the greatest
heartache. He is captivating his audience at the Komische Oper with a subtly
expressed tune.
Jochen Kowalski's particular voice in the high alto-register is surrounding the
Liederabend with a uncommon aureole. He is filling out the role of the
sentimental young man with all the shades of the alto-register. His expressive
singing is not having to do much with the no-vibrationless puristic sound ideal
of English countertenors.' (Martina Helmig, "Jochen Kowalskis herzvolle
Suche nach der Schönen Müllerin" in:
Berliner
Morgenpost-Internet-Archiv, 18th January, 1997)
'His interpretation of the Schöne Müllerin is to perceive a
long absorption and greatly artistic competence, even when the now present
result on a CD cannot convince in every aspect. The unaccustomed, first of all
very female sounding voice-type is not nearly the greatest handicap, but a
dimmed intonation that particularly is striking in the technically delicate
songs like 'Der Neugierige'. The stiff and little-different accompaniment on
the piano is exponential and is overburdening the voice moreover. The
dramatically lineal leading of the whole is suffering from that finally, the
psychological development of the lyric subject. Who experienced one of the
grandios live-performances of Jochen Kowalski with the Müllerin will be
somewhat disapointed by the recording.' (Wolf-Christian Fink, "Klassik
Kritiken - Franz Schubert Die schöne Müllerin" in: Scala, 2/98,
March/April, p. 56)
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In September 1997, the Berlin people could enjoy the programme Lieder
aus Deutschland (Songs from Germany) on the occasion of the 47th Berlin
Festival Weeks, which the Vienna people had already heard in summer. Lieder by
Schubert and Beethoven of texts by Metastasio were to be heard likewise as the
'little sublime' works of Carl Loewe (Tom der Reimer, Die Uhr)
and the Rosenlieder (also on CD - Plaisir
d'amour) by Philipp zu Eulenburg . Kowalski has a heart for this last mentioned
songs. It was very evident, even when the singer and the audience could not
sometimes deny a smile on particular trivial passages of the text. |
'A traditional valence-scale is about to roll when Jochen Kowalski let
follow the (as a poet and a composer forgotten) friend Wilhelm's II. (Prince to
Eulenburg - Rosenlieder, note of the author) with its 'popular' poetry
upon Hugo Wolf and Johannes Brahms. But firstly, the star of the Komische Oper,
the ratcatcher and lady-killer can sing what he wants, because he is beloved
and the gifts out of the stalls do not stop, and secondly, the experiment is
worth of reflections. (...) As the musicians of the Komische Oper have arranged
with the stringed instruments the clarinet, the piano, the drum and the
percussion instruments about the Twentieths, and the singer is succeeding in
this fashion, too, everything is aspiring after the operetta, the crematorium
(Schubert), the cinema-entertainment. Such a programme with the bombastic
arrangement of Phillip zu Eulenburg - 'Das Märchen ist aus' (The Fairy
Tale is ended) - the finishing so, the stupidity-making to the subject, is only
logic: a lesson of history of musical effects.' (Sybill Mahlke, "Hell die
Glöckelein" in: Der Tagesspiegel (Berlin), 14th September, 1997, p. 26)
'Jochen Kowalski was offering musical masquerades at the Komische Oper on
Friday. Schubert and Beethoven were being presented in the garment of the
Italian opera, romantic piano-songs of the 19th century were sounding as
arrangements for a drawing-room orchestra, and they were being sung by a singer
whose voice is stylistically home in the 18th century and in the opera. (...)
The play with the costumes succeeded here (at the first part, note of the
author): so as the composer's individual and classical cadence is gleaming
through the compositions, impressed by the conventions of the opera, Kowalski's
interpretation was also putting the piano-songs literally true on the stage.
The more luxurious accompagnement of the drawing-room orchestra was more
flattering for the singer than the piano-accompaniment of the first part after
the pause. (...) Hugo Wolf's composition of the Eichendoff-text 'Heimweh' was
approaching with the arrangement in a disagreeable proximity to Phillip zu
Eulenburg's 'Rosenlieder' with their grotesque combination of pseudo-popular
texts and puffed up music. (...) True and false emotions were melting into
truly false ones, particularly, Kowalski was providing everything with singing
mannerisms.' (Susanne Fontaine, "In ironischer Verkleidung" in:
Berliner Zeitung Online,
15th September, 1997)
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Besides, Kowalski has stood in a Joint Concert with
Dame
Gwyneth Jones (above all known by the legendary Bayreuth Ring des
Nibelungen (Wagner, 1869 - 1876) in Patrice Chéreau's staging and
under Pierre Boulez' musical conduction) on European and Asian stages since
1997. They both were getting to know at a talkshow, and they were being fire
for a joint project. Airs of Monteverdi, Händel, Gluck, Weber, Puccini,
Strauß, Lehár and Suppé are yielding a programme as well
that was summarized under the title O Fortuna - Eine kleine
Schloßmusik (O Fortuna - a little Music of a Castle). |
'Charm was the trump. Dame Gwyneth and Kowalski, single or in the duet, were
not economical with that. Some people's heads were being turned by it. (...)
That Dame Gwyneth was also frightening with a popping forte and was not rarely
streching a point in intonation, and that Kowalski's voice was being lead very
knowingly and experiencedly, however not only once was sounding coverdly, this
seemed to disturb few people. And as not only Rossini's Cat-duet was performed
so affectionate-clamantly, one could hardly withdraw from this charm.'
(Elisabeth Richter, "Charme als Retter" in:
Hamburger Morgenpost Online,
03rd September, 1997)
This small selection ought to be enough.
We can eventually be glad at further Lehár- or Tchaikovsky-projects,
both the composers seem to be interesting to Kowalski in any case. Besides,
Kowalski has people search for German songs by Kurt Weill in archives - perhaps
a further intention for the future?
AND ON STRANGE WAYS ...
Jochen Kowalski was also ascending with the CD
Evergreens, which was published in 1995, into the 'Lowlands' of the hit
music or sing-all-together music of the Ufa-time (German movie-enterprise
especially succesful in the Twentieths and Thirtieths). As an 'alibi', he can
quote his ideals Wunderlich and Tauber again, who did not shrink back from such
'departures from the rule' as well. You can observe in the results how much
life-blood Kowalski is investing, and how much it amused him. But he is
differentiating himself from artists like Max Raabe (popular german singer of
hits of the Twenthieths) and doesn't want to go with this mode only. Kowalski
isn't parodying at all. 'He owns wit, sympathetic understanding, feeling for
the style - even in the intented trivial. He shows unexpected depths in it and
he knows to exhaust them in a brilliant way.' (Klaus Geitel, "Jochen
Kowalski, Evergreens" from: booklet of the CAPRICCIO-CD, 1995, p. 5)
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Who is so happy and can enjoy one of the (not just often taking place and
unfortunatly since summer 1998 for one year having a break) performances of
Eine Sehnsucht, ganz egal wonach! (A desire - totally for what) at the
Deutsche
Theater Berlin will acknowledge that. The project, which is designated as
'Musical Event' in the title, was arising with the actor-colleagues Daniel
Morgenroth (who was acting as a stage-manager of an opera for four persons at
the Staatsoper Unter den Linden) Dagmar Manzel and Katrin Klein. 'Four singing
and playing theatre-stars are languishing and revelling in the hit-happiness of
the Thirtieths', so it is told in the advertising text of the Deutsche Theater.
But it is more - the make-up is torn from the hopeless romanticists, the
Philistine, the life-artist and the like with gag and iron, till he does not
know if he shall cry or laugh. As a precaution, there are even already
distributed with the programme handkerchiefs, which shall catch up the (joy)
tears. The gigantic success of the play shows - as the lately renaissance of
the Comedian Harmonists - that the audience is willing to enjoy oneself in the
old - already somewhat dusty - way. |
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The Melodramen- und Schauerballaden-Abend (Melodrama and Shuddering
Ballad Evening) of the 19th century, once more in cooperation with Daniel
Morgenroth (piano: Andreas Mitisek), was performed for the first time on 14th
July, 1998 on occasion of the
13th Kissinger Sommer. The composers Max von Schillings,
Friedrich Nietzsche, Philipp zu Eulenburg, Friedrich Glück, Carl Loewe but
also Richard Wagner, Richard Strauß and Robert Schumann are on that
programme with set to music works by Eichendorff, Uhland, Fontane and Schiller.
Singer and (and the sometimes singing) actor are alternating and presenting
skilful in music and playing with 'overtones' these nearly forgotten ballads -
comments it a critique. At the latest with the encore became the concert on
July the 14th a concert of laughter in which the audience and the artists
equally took part. In that way this conception as well cleared up all possible
doubts which critiques and listeners might have had before of the evening.
The Bavarian Broadcasting Company (Bayrischer Rundfunk) has broadcasted the
concert later on radio (BR4). |
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