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Lise Davidsen & Leif Ove Andsnes

In the left of the image Leif Ove Andsnes is looking to his right slighty, holding his left hand with his right. In the right of the image Lise Davidsen is smiling and looking to her left, holding the neckline of her jumper.

How fitting that two of Norway’s greatest musicians should be coming together for a programme centred around the country’s most celebrated composer, Edvard Grieg, writes Harriet Smith.

But also being celebrated today are female muses, without whom none of the music being performed would exist. In the case of Grieg, it was his first cousin Nina, whom he first met aged 20 in 1863 and married four years later. Today we may be more familiar with Grieg as a composer of orchestral and piano music, but his songs (around 180 of them) are a veritable treasure trove.

Grieg himself wrote: ‘I loved a young woman with a marvellous voice and an equally marvellous gift as an interpreter. This woman became my wife and … has been … the only true interpreter of my songs.’ Haugtussa (‘The Mountain Maid’) is, sadly, Grieg’s only narrative song-cycle. It sets a verse-novel published in 1895 by Arne Garborg and, if it follows in a tradition as defined by Schubert and Schumann, the result is quite different. Grieg’s excitement when he first encountered Garborg’s poems is demonstrated by the speed with which he wrote Haugtussa, completing it within the year. The episodes Grieg chose to set follow the eternal story of girl-meets-boy, girl-falls-for-boy, girl-suffers-heartache. Our hapless heroine is the herd-girl Veslemøy and, as she professes her sadness beside a babbling mountain brook in the final song, it’s impossible not to be reminded of Schubert’s Die schöne Müllerin. Above and beyond the apparently simple storyline, though, is the potency with which Grieg evokes both nature and human emotions. From the previous decade come Grieg’s Six Songs, Op 48. These are settings of leading German writers, including Goethe and Heine, and mark his first return to German poetry since his earliest songs. Common to all the settings are the subjects that preoccupied most 19th-century writers, entwining of love, nature and the seasons.

A year after Grieg met his wife and muse, Richard Strauss was born. And he also married his muse – Pauline de Ahna, a professional soprano for whom he composed a rich seam of songs during their long, if tempestuous marriage. The bouquet Strauss presented to his new wife on their wedding day would prove to have a beauty far more enduring than any posy of flowers. His four songs that form Op 27, of which Lise Davidsen and Leif Ove Andsnes perform three, are among the best known and most beautiful in his entire song output and they represented a new departure for the composer in setting contemporary poets. ‘Cäcilie’ was actually written just a day before his wedding (which took place on 10 September 1894). And ‘Morgen!’, with its great sense of optimism, and a subtlety in the way the voice enters almost unobtrusively over the piano accompaniment, needs little introduction. It sets a poem by John Henry Mackay, who as Scottish-born but lived in Germany. The fact that he was homosexual gives a poignancy to the text, which expresses the hope of being reunited once more with his beloved. There’s another rapturous expression of love in ‘Befreit’ from five years later, though there’s tragedy too, for it emerges that the poet is addressing his dying wife.

Richard Wagner’s Wesendonck Lieder (1857–8) were also inspired by a muse, but in his case things were – as so often with this composer – more emotionally entangled than with Strauss and Grieg. Wagner found himself on the wrong side of the law when, after the 1849 Uprising in Dresden, his position became, as they say, untenable. He was forced to flee, initially to Weimar and then onto the safely of Switzerland. Here he found financial support from a successful silk merchant named Otto Wesendonck, who gave him financial assistance, including the use of a cottage in his estate outside Zurich. There Wagner moved with his wife Minna, but unfortunately Otto’s wife Mathilde, both gifted and attractive, caught his eye and they embarked on a tumultuous affair. Though things didn’t end well, without their relationship we would not have the Wesendonck Lieder. Mathilde had shared with Wagner some of her poetry, and his five settings perfectly match the intensity of the texts. Mathilde later recalled in her memoirs the way Wagner’s music lent them ‘a supreme transfiguration and consecration’. In tone the songs are in the same heightened language as his music drama Tristan und Isolde, on which he was working around the same time. What is remarkable too is the way that, even in their original incarnation for voice and piano, the ardent headiness of the writing comes across with great immediacy.

© Harriet Smith

Running times

Start time: 7.30pm

Approximate running time: 105 mins including a 20-minute interval

Please note all timings are approximate and subject to change

This performance is subject to government guidelines

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Programme and performers

Edvard Grieg Six Songs, Op 48
1. Gruss (Greeting)
2. Dereinst. Gedanke mein (One Day, O Heart of Mine)
3. Lauf der Welt (The Way of the World)
4. Die verschwiegene Nachtigall (The Nightingale’s Secret)
5. Zur Rosenzeit (The Time of Roses)
6. Ein Traum (A Dream) 
Edvard Grieg Haugtussa (The Mountain Maid)
1. Det syng (The Enticement)
2. Veslemøy (Young Maiden)
3. Blåbær-Li (Blueberry Slope)
4. Møte (The Tryst)
5. Elsk (Love)
6. Killingdans (Kidlings’ Dance)
7. Vond dag (Hurtful Day)
8. Ved gjaetle-bekken (At the Brook)
Richard Strauss 4 Lieder, Op 27
1. Ruhe, meine Seele! (Rest thee, my Soul)
2. Cäcilie
4. Morgen! (Tomorrow!)
Richard Strauss 5 Lieder, Op 39
4. Befreit (Released)
Richard Wagner Wesendonck Lieder
1. Der Engel (The Angel)
2. Stehe still (Be still)
3. Im Treibhaus (In the Greenhouse)
4. Schmerzen (Sorrows)
5. Träume (Dreams)
 

Lise Davidsen soprano

Leif Ove Andsnes piano

Six Songs

Leise zieht durch mein Gemüt
Liebliches Geläute.
Klinge, kleines Frühlingslied,
Kling hinaus ins Weite.
Zieh hinaus, bis an das Haus,
Wo die Veilchen sprießen.
Wenn du eine Rose schaust,
Sag, ich lass’ sie grüßen.

A sweet sound of bells
Peals gently through my soul.
Ring out, little song of spring,
Ring out far and wide.
Ring out till you reach the house
Where violets are blooming.
And if you should see a rose,
Send to her my greeting.

Haugtussa

Å veit du den Draum og veit du den Song,
so vil du Tonarne gøyma;
og gilja det for deg so mang ein Gong,
rett aldri so kan du det gløyma.
Å hildrande du! med meg skal du bu,
i Blåhaugen skal du din Sylvrokk snu.

Du skal ikkje fæla den mjuke Nott,
då Draumen slær ut sine Vengjer,
i linnare Ljos en Dagen hev ått
og Tonar på mjukare Strengjer.
Det voggar um Li, det svævest av Strid,
og Dagen ei kjenner den Sæle-Tid.

Du skal ikkje ræddas den Elskhug vill,
som syndar og græt og gløymer;
hans Famn er heit og hans Hug er mild
og Bjønnen arge han tøymer.
Å hildrande du! med meg skal du bu,
i Blåhaugen skal du din Sylvrokk snu.

Oh, if you know the dream and the song
You’ll want to hide the notes;
And if it bewitches you
Before long you’ll never forget it.
O magical you! With me you’ll live,
On Blåhaugen you may spin your silver.

You shan’t fear the mild night,
When dreams spread out their wings
In a milder light than that of day,
And play notes on softer strings.
The hill is cradled, cares are forgotten
Daylight cannot know this time of bliss.

You shan’t fear what love desires
Which sins and weeps and forgets;
Its embrace is hot while its temper is mild
And it can tame the angry bear.
O magical you! With me you’ll live
On Blåhaugen you may spin your silver.

Richard Strauss Lieder

Nicht ein Lüftchen,
Regt sich leise,
Sanft entschlummert
Ruht der Hain;
Durch der Blätter
Dunkle Hülle
Stiehlt sich lichter
Sonnenschein.
Ruhe, ruhe,
Meine Seele,
Deine Stürme
Gingen wild,
Hast getobt und
Hast gezittert,
Wie die Brandung,
Wenn sie schwillt!
Diese Zeiten
Sind gewaltig,
Bringen Herz und
Hirn in Not—
Ruhe, ruhe,
Meine Seele,
Und vergiß,
Was dich bedroht!

Not even
A soft breeze stirs,
In gentle sleep
The wood rests;
Through the leaves’
Dark veil
Bright sunshine
Steals.
Rest, rest,
My soul,
Your storms
Were wild,
You raged and
You quivered,
Like the breakers,
When they surge!
These times
Are violent,
Cause heart and
Mind distress—
Rest, rest,
My soul,
And forget
What threatens you!

Wesendonck Lieder

In der Kindheit frühen Tagen
Hört ich oft von Engeln sagen,
Die des Himmels hehre Wonne
Tauschen mit der Erdensonne,

Daß, wo bang ein Herz in Sorgen
Schmachtet vor der Welt verborgen,
Daß, wo still es will verbluten,
Und vergehn in Tränenfluten,

Daß, wo brünstig sein Gebet
Einzig um Erlösung fleht,
Da der Engel niederschwebt,
Und es sanft gen Himmel hebt.

Ja, es stieg auch mir ein Engel nieder,
Und auf leuchtendem Gefieder
Führt er, ferne jedem Schmerz,
Meinen Geist nun himmelwärts!

In the early days of childhood
I often heard tell of angels
Who exchange heaven's pure bliss
For the sun of earth,

So that, when a sorrowful heart
Hides its yearning from the world
And would silenly bleed away
And dissolve in streams of tears,

And when its fervent prayer
Begs only for deliverance,
That angel will fly down
And gently raise the heart to heaven.

And to me too an angel descended,
And now on shining wings
Bear my spirit, free from all pain,
Towards heaven!
 

Artist Biographies

Since winning Plácido Domingo’s Operalia and Queen Sonja competitions in 2015, Norwegian soprano Lise Davidsen has taken the classical music world by storm, with resounding debuts in venues such as Metropolitan Opera, Royal Opera House Covent Garden, Bayreuth, Aix-en Provence and Glyndebourne Festivals, Bayerische Staatsoper, Wigmore Hall and the Barbican, Wiener Staatsoper, the BBC Proms at Royal Albert Hall and Zurich Opera House. ‘It’s been a long time since a singer has generated as much buzz,’ wrote Gramophone in its review of her debut album for Decca, which debuted at number one in the UK Classical music charts. Released on 31 May 2019, her recordings of music by Strauss and Wagner inspired the magazine to declare that ‘she is one of the greatest vocal talents to have emerged in recent years, if not decades’. 

Highlights of Davidsen’s 20/21 season include a streamed recital for the Metropolitan Opera as part of their celebrated series: Met Stars Live in Concert and several highly anticipated role debuts: Sieglinde Die Walküre in a new production at Deutsche Oper Berlin and in concert at Opera de Paris; the title role of Jenufa at the Concertgebouw in Amsterdam; and Amelia in a new production of Verdi’s Un ballo in maschera at the Norwegian National Opera. Further appearances include Title role Ariadne auf Naxos at Wiener Staatsoper; Elisabeth Tannhäuser at Bayerische Staatsoper; a return to Bayreuth in Tobias Kratzer’s production of Tannhäuser and concert performances of Die Walküre; as well as a solo recital at Norwegian National Opera. Recitals future heavily in her schedule with appearances at Konzerthaus Dortmund and Palau de les Arts Valencia with James Baillieu; and together with famed Norwegian pianist Leif Ove Andsens in Bergen, Trondheim, Rosendal Chamber Music Festival in Norway and Turku Festival in Finland. 

Last season Davidsen made a widely acclaimed company debut with the Metropolitan Opera as Lisa Queen of Spades and took on the role of Leonore Fidelio, first in concert with Yannick Nezet Seguin and Opéra de Montreal and then at the Royal Opera House, in a new production by Tobias Kratzer and conducted by Sir Antonio Pappano. Further appearances included a role debut as Ellen Orford Peter Grimes at the Enescu Festival; Strauss’ Op 27 with Philharmonia and Esa-Pekka Salonen at the BBC Proms; Vier letzte Lieder with Orchestre de Paris; Beethoven Symphony No. 9 with Gianandrea Noseda and the Wiener Symphoniker and with Vasily Petrenko and the Oslo Philharmonic; Sieglinde Die Walküre with Fabio Luisi and the Danish National Symphony Orchestra and solo recitals in London (Barbican), Oslo, Copenhagen and Bergen. 

Further recent highlights include her role debut as Elisabeth Tannhäuser which she performed at Opernhaus Zürich, Bayerische Staatsoper, and in a triumphant debut at the Bayreuth Festival where she was hailed by the international press as a 'voice once in a century'; Lisa Queen of Spades at Oper Stuttgart; the title role of Ariadne auf Naxos at Aix-en Provence Festival; Wiener Staatsoper and Glyndebourne Festival; Agathe in a new production of Der Freischütz at Opernhaus Zürich; Cherubini’s Medea at Wexford Festival; Santuzza Cavalleria Rusticana and Sancta Susanna in Oslo; and Isabella Das Liebesverbot at Teatro Colon. 
Recent concert appearances include Verdi’s Requiem at the BBC Proms with the London Philharmonic Orchestra and Andrés Orozco Estrada, at the Royal Opera House with Sir Antonio Pappano, the Danish National Symphony Orchestra and Fabio Luisi, and Philharmonia Orchestra and Edward Gardner; Strauss Op. 27 at the Edinburgh International Festival with the Oslo Philharmonic Orchestra and Vasily Petrenko; Vier letzte Lieder with the Danish National Symphony Orchestra, the Stavanger Orchestra, Copenhagen Philharmonic, and the Bergen Philharmonic Orchestra; Die Walküre (1st Act) with the Toronto Symphony Orchestra and Sir Andrew Davis and with the Antwerp Symphony Orchestra and Edo de Waart; Wesendonck Lieder and Rückert-Lieder with the Norwegian Chamber Orchestra; and Sibelius’ Luonnotar with the BBC Philharmonic at the BBC Proms. Davidsen was an Artist in Residence with Bergen Philharmonic Orchestra during the 2017-18 season when her appearances included an open-air concert, Verdi’s Requiem and Wesendonck Lieder as well as recital performances. 

A 2014 graduate of the Opera Academy in Copenhagen, she has studied under Susanna Eken, previously gaining a degree from the Grieg Academy of Music in Bergen. In 2015 Davidsen was crowned winner of both the Operalia and the Queen Sonja competitions. Her breakthrough performances won her the First Prize, the Birgit Nilsson Award and the Audience Prize at the Operalia competition in London as well as the prize for the best performance of Norwegian music and the Ingrid Bjoner Scholarship at the Queen Sonja International Music Competition. She is also a triple winner at the 2015 Hans Gabor Belvedere Singing Competition in Amsterdam and a recipient of many awards, including the HSBC Aix-en-Provence Laureate, Statoil Talent Bursary Award, Léonie Sonning Music Prize, Danish Singers Award 2014 and the Kirstin Flagstad Award 2015. In 2018, Davidsen was presented with the prestigious Young Artist of the Year Award at the Gramophone Classical Music Awards.