Archive for the ‘choral masterworks’ Category
Why LLS (Light Lyric Sopranos)? Why now?
In April, I attended the Cal Perfs recital of Sandrine Piau at Hertz Hall. I’ll wait until my “Top 10” EOY post to review it, but needless to say, she was sensational. I bought my tickets well in advance, knowing it would be the sleeper of the season.
However, at the time it crossed my mind that the recital came and went without much fanfare, she had no SF Opera presence in this or any season to date, the hall was only half full despite its intimate size, AND even few if any of my opera friends in-the-know had it on their must list. The reasons? Her career has been almost entirely in Europe, she’s essentially a “specialist” (ie: early music, Mozart, and lieder/art song), and she’s an LLS. Unfortunately, this fach rarely commands the same mainstream attention as the big guns, and in more standard operatic fare usually serves ensemble or comprimario roles.
I’ve spent much time on jcm raving about my beloved coloraturas, dramatic sopranos, and at times full lyrics, but it’s time I shed a spotlight on the finest LLS of our time (all of them active). I hope you discover an artist new to you.
Wikipedia shares that an LLS “has a bigger voice than a soubrette, but still possesses a youthful quality.” SO, clearly this doesn’t include the full lyrics, typified by a Fleming, Moffo, or Steber. Their predecessors are Elisabeth Schumann, Bonney, and Cotrubas.
What are the qualities I want in my LLS?
I look for well modulated technique, emission “on the breath” (unless for expressive purposes), singing within one’s “column of sound” (— L. Price), a balance of sweetness and brightness (not too much of one), good taste (which is VERY important in this fach, lest they become cloying), and of course unique interpretive and expressive abilities/gifts.
There’s no hard line drawn between fachs, so some of these singers have characteristics of a coloratura, soubrette, and lyric, but I believe they are at their essence LLS. It should come as no surprise that many of their coloratura skills are astonishing, as a leaner voice is wont to move fast at times.
She was the inspiration for this post, because, she, like Sandrine is offering a Bay Area recital this year (this weekend!), which I’m not going to miss. As with Sandrine, it likely won’t be sold out, has been rather under-marketed, BUT will surely contain some of the finest singing the Bay Area has heard all year. Her holiday album Images de Noël is always a part of my Christmas. I also recommend her Baroque duet album with Marie-Nicole Lemieux: “Streams of Pleasure.”
She is the definition of good taste, portraying a supreme elegance, self-possessed carriage, and pristine tone. Her Mozart aria recital CD is superior to Dessays, but she’s less flashy and more reserved, so not the mainstream marketing darling that Dessay has become. (I admire Dessay’s art too for different reasons.)
It’s time for my third annual Top 10 round-up. These don’t attempt to be comprehensive reviews…but rather an Amuse-bouche of the most stellar performances I witnessed by the Bay, in ’11. How in the world can I compare a Pop Star to a Handel opera, you ask? Well…I warm up the jcm-ulator, and out come the tabulated results. It doesn’t lie. I seem to be trending towards opera, with musicals taking a back seat. Why? They sing louder, higher and without mics?
1) RING Cycle, SF Opera details
With the carefully crafted characterizations of a stage play, this Cycle was a well-deserved hit and had the city abuzz with Wagner. Nina Stemme’s Brünnhilde was an utter triumph, equal parts true Wagnerian and singing actress. Stunning SFO leading role debuts were offered by Heidi Melton as Sieglinde, and Daveda Karanas as Waltraute. There wasn’t a weak link in the cast. Francesca Zambello’s concept was fortunately not too heavy-handed, largely staying out of the way of the story and score…more often informing it, and only periodically misstepping. I found the Industrial Revolution concepts throughout Das Rheingold to be the most iconic and potent. However, the mythic Die Walküre was the emotional highpoint, featuring the burnished, virile tenor of Brandon Jovanovich’s Siegmund. Siegfried was also surprisingly engaging. I had the good fortune of serving as Super Captain and Supernumerary in Walküre and Götterdämmerung.
2) Stacey Kent, Venetian Room, Fairmont Hotel details
I fell in love with her voice three years ago. After stalking her tour schedule for a Bay Area performance, I got to experience her art live at last. She’s a real pixie…a gentle spirit, with a frail flutter to her vibrato. She completely transported me and her audience, casting a convincing spell. Her palpable, loving connection to her band leader, sax player and husband Jim Tomlinson added to the glow. She embodied “less is more,” drawing us in, rather than overworking her numbers in a too extroverted manner. Her set included lots of brazilian and french songs unfamiliar to me, some off her just released album. Come back soon Stacey!
It’s that time again! I’m serving up my second annual Top 10 LIVE Performances of the year. It’s a follow-up to my ‘09 list. Sadly, there are no Broadway shows on this list. I plan on remedying that in 2011!
1. Die Walküre, San Francisco Opera (Details)
This production offered one of the finest casts that could possibly be assembled for this opera (and The Ring) in the current operatic landscape. The production said some new things, and offered a few fresh perspectives, but didn’t try too hard, or overshadow the score. Maestro Runnicles is a Wagnerian master, and he and the orchestra rose to the occasion again. Yeah, I was a “Supernumerary” in the production, but I was able to watch much of it from the orchestra during rehearsals, and even accounting for my bias, this would still takes my top spot. Enjoy my full review here.
2. Scalpel! The Musical, Brava Theatre (Details)
Can you say fun? It had me at the opening number, with countless heals and drag runway walks. It was the first show I’ve seen in the Brava, and I immediately loved this venue…the warm lighting, the urban ambience, and the straight, raked seating offering direct views. Even with all the camp and hijinks, the entire cast was completely committed to the material. This was the second mounting of the show, and my fingers are crossed that it returns yet again. Apparently, there was a bit of a curse on the production, with multiple cast injuries (including a very unfortunate broken leg for leading man, Mike Finn), but they pushed through, with some quick and fortuitous replacements and prevailed. Picturing Sara Moore as “poop-raking” TV reporter Kitty Kelly (“Hardballs” host) still makes me laugh.
3. Heidi Melton: Salon at the Rex, The Rex Hotel (Details)
To hear Heidi Melton plead in spoken french AND debut her chest voice was alone faint-worthy, and positively scintillating. And, to hear her in repertoire much outside her core operatic rep and comfort genres was a treat (ie: Irving Berlin and Kurt Weill cabaret, and Korngold songs). Her rendition of Berlin’s “Always” left not a dry eye in the audience. (Her Noe Valley Chamber Music Recital a few weeks before was also very beautiful). No thanks to the Adler “Future is Now” concert, which was on the same night, the recital was over all too soon (evidenced by a jcm quotation here and here)! I stuck around and imbibed and dined at the bar…I wanted to savor the spell Heidi had cast.
The Omniscient Mussel, hostess of the famed OperaPlot contest is writing a piece about opera standing room culture, and has put out a call for standees’ tales on the experience. Below are the my submitted musings.
Standing in San Francisco
I’ve enjoyed standing room at San Francisco Opera many times over my past 17 years in the Bay Area. My first experience of it at The War Memorial Opera House was from the rear Orchestra at the ’95 Die Walkure, starring Jane Eaglen and James Morris. It was also my first-ever live Ring opera. Having only familiarized myself with a few recorded highlights, the score was surprisingly lyrical, and Jane’s approach refreshingly bel canto.
The first half flew by, and I nearly forgot I was standing, so captivated I was by the evening. Plus, given that opera singers work SO hard, standing for hours themselves, whilst exhibiting a mastery of language, character, vocal technique…it’s a worthy trade. Cupid struck my heart with this taste of the Ring and I haven’t looked back since.
OK…I confess, I did that night what many daring standees do, which is to trickle down into a seat left empty by someone who bailed during the intermission. SO, I got an Orchestra seat for the price of standing room, at least for half the performance. However, I rarely try that stunt these days, and the ushers, perhaps understandably so seem to be more stern guardians these days.
My most recent standing room at SFO was from the rear Balcony at the Verdi Requiem. It was a gala performance that served as the farewell to Donald Runnicles as Music Director, and featured Heidi Melton and Stephanie Blythe.
Below are some excerpts from my blog review of that performance that reveal some benefits of standing in the rear Balcony:
“After my friend scored a single last-minute seat in the Orchestra, I scaled the heights to find the last standing room spot in the Balcony (aka “nose-bleeds”)…
I was reminded that where I stood was the real acoustic sweet spot of the house, and nowhere else can one hear such fine textures in the soundscape, far better than in the rear Orchestra, where I first scavenged for a spot. It does seem to favor voices over instruments, as the chorus actually seemed to overpower the orchestra a bit…but I’m certain that’s just a slight acoustic imbalance, and was hardly a problem.”
My verdict? The rear Orchestra offers the better standing room views, but the rear Balcony offers the finer acoustics…it’s a trade-off. Perhaps the deal breaker in favor of the rear Balcony is that I’ve observed many of the senior standees sitting or laying on either the floor or a bench near the back wall, enjoying just the aural pleasures alone. I have a special admiration for them, as they hearken back to the days of gathering around for an old radio show, creating one’s own visuals with only a ripe imagination.
I just discovered a colleague’s very stylish blog, and was inspired by her post asking “What Defines You?,” and her subsequent personal list. As a bit of a Top 10 List addict, I was fast on my way to rounding up my own. I’ve left jcm off the list, as it’s eminently clear that this blog defines me, but that’s just too easy, eh? Here they flow, in random order:
My 7th Birthday Photo
This photo (May ’77, Cincy, OH) conjures up the warm, sentimental feelings of uncomplicated youth, and a loving connection with my family. Although my folks aren’t pictured here, their nurturing presence is all around (and on the other side of the camera). The Winnie the Pooh cake was likely by my special request. I love the retro feel of the old square prints, with rounded corners.
There is a simplicity to my memories of childhood, and of these such moments…no crowded party, or branded birthday theme (seemingly requisite these days), just closeness and joy. I’m so thankful to have the foundation that my upbringing provided me. Funnily enough, CJ has a photo that is almost exactly the same (parallel lives?). Now, just two months from my 40th bday, I suppose I’m a bona fide “adult”!?
“Peristeriona” Ceramic Vase
This vase holds all the memories of CJ’s and my beautiful around-the-world journey together…Hong Kong to Greece to Senegal. It was something I had dreamt of doing for decades, while I racked up frequent flyer miles!
We purchased this in a charming little shop on Sifnos, an authentic, less touristy Greek Island option that we both long to return to one day. The yellow and black colors call to mind the brilliant glow of the sun, and the contrasting shadows, on the traditional white structures and breezy hillsides.
CJ and I have the gift of travelling very well together, and our time on this island was one of our most special yet…divine food, a white-knuckle scooter ride through the hills, and lots of R&R by the sea.
In the quieter, darker, colder days of January, in addition to looking ahead to what the year will bring, and setting goals, it’s always especially nice to reflect back on the previous year, to recall and relive some of its finest moments. So, it is in that spirit that I share my Top 10 LIVE Performances List for the year.
1. Hair on Broadway (8/2): I’ve certainly said enough about this love-rock musical on my blog in the past 6 months, but for good reason. Attending the acclaimed Broadway production with CJ and some dear friends was deeply moving, and a wonderful way to further launch me into my ACLO production. Although the singing style was more “pop” than I’d like (relative to the original productions), when seeing it live, any stylistic qualms fell away, and the raw honesty of the production swept me away. Steel Burkhardt was a surprisingly good understudy for Will Swenson, as Berger.
2. Heidi Melton Recitals: (2/4) Her Salon at the Rex featured Purcell, Berg, Messiaen, Debussy, and Bolcom; (10/20) Her LIEDER ALIVE! recital second half at the SF Conservatory featured Wagner’s Wesendonck Lieder. Now in Berlin preparing for her Deutsche Oper Berlin debut, and just off her Met debut in Elektra, she thankfully gave San Francisco two satisfying recitals before her departure. The first was very casual in spirit, much like the salons of old, I imagine…a great artist sidled up to the piano, friends and fans with cocktails in hand, and the artist just telling stories, in words and song. Perfect! The second prooved her Wagnerian chops in the demanding Wesendonck.
3. The Cockettes’ Pearls Over Shanghai (8/15): Straight from The Cockettes’ closet and into The Thrillpeddlers’ Hypnodrome…this irresistable tale is told in glitter, technicolor, pasties, and skin, with raw, campy delivery, and a bawdy flavor. I am happy to now be a part of this production, its first revival since its creation in the late ’60s. John Waters just graced our audience. Don’t miss it!
5. Donizetti’s La Fille du Régiment at SF Opera (10/22): This Pelly production is an example of a fresh take on an opera that enhances a classic, not apologizes for or covers it up. Diana Damrau and Juan Diego Florez struck the perfect balance of bel canto purity and knee-slapping hijinx. It was genuinely funny throughout…true laughter spilled forth from the audience, not just the polite opera-laughter one is accustomed to. Meredith Arwady’s turn as The Marquise de Berkenfeld was beyond her years in comedic timing, and positively ebullient.
6. Next to Normal on Broadway (8/2): Like really good therapy…onstage. Vocal chops for days from all 6 performers. Alice Ripley may be crazy, but she’s perfect in this role, and the show lives up to its buzz.
7. Verdi’s Requiem at SF Opera (5/29): This was a moving farewell for Donald Runnicles. Heidi Melton and Stephanie Blythe melded beautifully. Melton stepped in last minute for an ailing Patricia Racette. The performance just crackled with emotion and commitment. And, how special to experience a sacred choral masterwork in our opera house!
8. Gershwin’s Porgy & Bess at SF Opera (6/12): To finally hear this score performed live in its original operatic context was a true thrill, especially after growing so fond of pop and jazz renditions for decades. Laquita Mitchell and Eric Owens lovingly gave 120%.
9. Rossini’s Semiramide at Caramoor (7/31): In this case especially, it’s hard to separate memories of the setting and journey from the performance itself, but the warm summer air, cultivated audience, and Queer Opera Punk friends in tow helped make it very memorable. It starred bel canto masters Angela Meade, Vivica Genaux, Lawrence Brownlee, and Daniel Mobbs. And, how lovely to discover my old choir friend Heather Meyer in the chorale!
10. Paul Taylor Dance Company at YBCA (5/2): This Program C included Arden Court, (Music by William Boyce: Symphonic Excerpts), Private Domain (Music by Iannis Xenakis: Atrees), and Offenbach Overtures (including La Grande-Duchesse de Gerolstein and Berbe-Bleue Overtures). Unfortunately, this year held few dance performances for me, but, at least included this one! CJ’s high school acquaintance Rob Kleinendorst is a long-time company member. The Offenbach was absolutely hysterical, not the sort of tone I expected from the company. A real fresh surprise! Last time I saw their tour, I was floored by their dramatic, apocalyptic Promethian Fire. Although not intentional, it felt like a 9/11 tribute. Well, this Offenbach couldn’t be more different, and shows their breadth.
Honorable Mentions: South Pacific Tour, GG Theatre, SF; American Idiot, Berkeley Rep (World Premiere, and Broadway-bound); Kylie Minogue concert, Fox Theatre, Oakland, CA; Pink Martini in concert, Davies Symphony Hall, SF; Souvenir, with Judy Kaye and Donald Corren, Geary Theatre, SF; SF Opera Auditions for the General Director (David Gockley) highlights: Michael Sumuel’s “O! Du mein holder Abendstern”, Ryan Belongie’s “Cara Sposa” and Nathaniel Peake’s “Salut demeure chaste et pure” and “Ah! lève-toi soleil!”.
Overrated/Yawners: In the Next Room: The Vibrator Play, Berkeley Rep (now on Broadway?! I fell asleep.); Billy Elliot on Broadway (some great moments and some great dancing do not a great musical make).
Surely the ghosts of Verdi and Britten (not to mention St. Patty, aka Patricia Racette) conjured up this gift! After the very disappointing cancellation of Britten’s Peter Grimes at the San Francisco Opera, robbing diva Heidi Melton (and us) of her formal debut in a leading role (Ellen Orford) on its stage, what glorious news the title of this May 28th SFO “Media Advisory” bore:
SOPRANO HEIDI MELTON TO REPLACE PATRICIA RACETTE
IN MAY 29 VERDI REQUIEM CONCERT CONDUCTED BY
SAN FRANCISCO OPERA MUSIC DIRECTOR DONALD RUNNICLES
This was especially welcome, after Heidi had a cancellation of her own mid-week, from Berkeley Opera’s Annual Gala, celebrating their 30th anniversary. At the time, I didn’t care if she was only to sing a single aria, I had to be there. Little did anyone know that a few days later she’d be delivering up one of the most demanding and exciting parts in the entire Italian (opera) rep.
This performance was crafted in honor of Donald Runnicles, and his 17 years as Music Director of the SFO. Although I hadn’t originally intended to go, with Heidi on board, it was NOT be missed.
It was a sold-out house, packed to the gills. It was heartening to see this, as Runnicle’s commitment to the company, and investment in the evolution of the orchestra, choir, and artists has been invaluable. He has set the bar very high for Luisotti, and the orchestra on a trajectory for the finest quality. In particular, his musical tastes seem to be very in line with mine…built on a foundation of Mozart, Strauss and Wagner (a not so subtly german trio!).
After my friend scored a single last-minute seat in the Orchestra, I scaled the heights to find the last standing room spot in the Balcony (aka “nose-bleeds”). When the first notes of the Requiem started and I looked around me, I felt as if we were in our spiritual home, here to worship Verdi, Runnicles (and Heidi…NOT in that order!) at the altar of music. It sent a chill up my back. It’s so rare to experience rep like this in the opera house, so it was truly special.
I was reminded that where I stood was the real acoustic sweet spot of the house, and nowhere else can one hear such fine textures in the soundscape, far better than in the rear Orchestra, where I first scavenged for a spot. It does seem to favor voices over instruments, as the chorus actually seemed to overpower the orchestra a bit…but I’m certain that’s just a slight acoustic imbalance, and was hardly a problem.
When basso Andrea Silvestrelli sang his first “Kyrie”, out of him spilled a generous, throaty, almost “black” Russian-like tone. However, he was capable of reigning it in to render more tender expressions as well. It was hard to believe he could extend such a dark sound up to the upper reaches of his range. There is something wild and untamed about his instrument, which is also supported by hints of the Italianate lisp I most associate with the operatic lion himself, Corelli.
Mezzo Stephanie Blythe offered her signature smooth tone and sensitivity to the score, but knew when to draw some thrilling edge forth from her voice. Her recent Amnerises have likely helped take her even further to these Simionato extremes. She is a model for what it means to be a truly collaborative artist. When singing with Heidi, she would lean into her, look at her, and exchange in a real give-and-take, as the phrases allowed it. And, when not singing, she was rapt and intent on those who were…really listening. Beautiful!
Tenor Stefano Secco was a shade lyric in this company, and relative to the great recordings I’ve grown accustomed to, but he sang with beauty of tone, blended well in the ensemble, and nailed every challenge in the score. He had the required squillo one is wanting from this piece.
It was overwhelming to see Heidi Melton perform this piece, on the stage of her beloved SFO, in her final year as an Adler Fellow. She has truly “arrived”, and it was clear she was meant to be, and deserved to be up there in that company. I’m so pleased that with the memory of this grand experience, she is supportively launched into her international career. I think her voice was born for Wagner and Strauss (german rep.), but she proved she is a worthy Verdian too. In particular, she shaped beautiful phrases in the “Salve me”, from voluminous fortes to caressed pianissimi. She also exhibited a lovely trill. She sustained a perfectly supported mezza voce in the Agnus Dei, and sang as one voice with Blythe. Perhaps because of the Caballe/Cossotto recording, I never feel this movement is conducted slowly enough, but imagine the breath support required to do so would be cruel. She commanded the stage in the scena Libera Me, and effectively rode the orchestra through its swells and crests.
Maestro Runnicles led his forces with vigor, and let the score guide him, rather than imposing an “interpretation”. In my 15 years in the Bay Area, he is the only SFO Music Director I have “known”, so this is truly the end of an era, and a book-end on a glorious run. His presence and manner alone have always lent a gravitas and reverence to our Company, and this art form we cherish.
Having just attended the Requiem at the SF Symphony last season it was interesting to draw some comparisons. This piece is more standard rep for a Symphony Orch and Choruses’, and they had the benefit of an actual run, so this may have contributed to it being the cleaner and more nuanced performance. Christine Brewer and Stephanie Blythe (again) put their own magic imprint on the material (shades of Sutherland/Horne as Norma/Adalgisa). BUT, the Verdi Requiem is really more operatic in character than “oratorio” or “symphonic”, and was rightfully performed in the opera house this time around. And, the Opera Orchestra and Chorus delivered a take-no-prisoners drama, with red-blooded fervor…a bit rougher around the edges, but fully committed.
Afterwards, SFO General Director David Gockley, Chairman of the Board of Directors John Gunn, and President of the San Francisco Opera Association George Hume presented Maestro Runnicles with the San Francisco Opera Medal, the highest honor awarded by the Company to an artistic professional (created by Kurt Herbert Adler in 1970). This was a very moving tribute, especially since it’s not frequently given (and rarely to conductors). Other recipient highlights include: Dorothy Kirsten (1970), Leontyne Price (1977), Joan Sutherland (1984), Marilyn Horne (1990), Plácido Domingo (1994), Frederica von Stade (1997), Samuel Ramey (2003), Pamela Rosenberg (2005), and Ruth Ann Swenson (2008).
Runnicles offered a very heart-felt and sincere acceptance and acknowledgement of the SFO and SF as his home, and expressed his great love for all his fellow artists, and us, the SF audience. He offered a special mention of Heidi, who he shared could have had no idea two days before when she woke up what opportunity would come her way. AND, he made the official public announcement that she will be joining him at the Deutsche Oper Berlin, as a member of its famed ensemble. I felt so proud for Heidi…she must have just been beside herself. Having been so scarce on the mainstage of late, this was a true triumph of performance and recognition!
And, there’s more good news to report on the horizon…her bio insert announced that she is scheduled to perform the title role in Ariadne auf Naxos and Ada in Wagner’s rarely heard Die Feen with Frankfurt Opera, both in 2011. That she would make her home in Germany, at least in the short term comes as no surprise, and I hope is a very nurturing setting for her rare gifts!
Seeing the movie The Soloist yesterday put me back in the embrace of the sort of music that I love most deeply. The beautiful soundtrack features Beethoven’s “Triple” Concerto, Eroica and Ninth Symphony, and the Bach Cello Suite No. 1. I highly recommend the movie, while confessing it’s quite flawed. But, like Shine or Hilary and Jackie it effectively uses music as a character itself, showing its truly transformative nature, as well as how it can be a reflection of one’s internal Sturm und Drang. (See the real story behind the movie here.)
I have a short-list of classical music favorites in this vein that I return to time and time again, and never tire of. They are my spiritual balm, are deeply healing, and “feed” me when I’m feeling lost or run-down. If I were ever considering an atheistic path, these pieces will continue to convince me otherwise. I consider them some of the most spiritually transformative works in the genre.
I tend to prefer more contemplative, stirring works than cheerful, overtly uplifting ones, when looking for something transcendent, so those weigh more heavily here. Surely one of these will be played at my funeral (which is hopefully a long way off). And, these are not necessarily my favorite recordings, but they are what’s available online, and in a good enough quality, worthy of viewing.
I’ve narrowed to one work per composer, otherwise Richard Strauss and Beethoven would have filled the entire list. I had to leave out the Mahler, Elgar, Faure, and Morricone. They are in no particular order.
Missa Solemnis: Benedictus (Beethoven)
This movement flows without a pause from the previous Sanctus.
Eclogue for Piano and Strings (Gerald Finzi)
Vier Letzte Lieder (Four Last Songs): Im Abendrot (At Sunset) (Richard Strauss)
This rendition is too frenetic, but Popp makes it worthwhile. I most love della Casa and Fleming’s (first) studio recordings.
Mass in C Minor: Et Incarnatus Est (Mozart)
Noone has ever sung this like Ileana Cotrubas, on the Raymond Leppard recording.
Tristan und Isolde: Love Duet (Wagner)
Symphony No. 3 in C Minor, “Organ”: Poco Adagio (Saint-Saens)
Fourteen Songs: Vocalise (Rachmaninoff)
Missa Sancti Gotthardi: Anima Nostra (Michael Haydn)
Please ignore the RIDICULOUS video. This one is for your ears only!
Double Concerto in D Minor, for two violins: Largo (Bach)
German Requiem: Ihr Habt Traurigkeit (Brahms)
As much of a Janowitz fan as I am, this is a bit past her prime, and the Kathleen Battle and Elisabeth Grummer studio recordings can’t be beat.
Beau Soir (Beautiful Evening), for violin (Debussy, arr. Heifitz)
I hope that you experienced here at least one of these pieces for the first time (again, these video themselves in most cases are not the focus here, just a delivery device). Although I don’t think it’s an ideal practice to extract a single movement from a symphony or mass, the “jewel” of such a work can become a portal for one to want to explore more of the complete work. I hope you find that to be the case. Good luck on your journey! I leave you with the Joseph von Eichendorff’s text from Im Abendrot:
We have gone through sorrow and joy
hand in hand;
Now we can rest from our wandering
above the quiet land.
Around us, the valleys bow;
the air is growing darker.
Just two skylarks soar upwards
dreamily into the fragrant air.
Come close to me, and let them flutter.
Soon it will be time for sleep.
Let us not lose our way
in this solitude.
O vast, tranquil peace,
so deep at sunset!
How weary we are of wandering—
Is this perhaps death?