When the 2012 Grammy Award nominations were announced recently, Ian Bostridge's name was prominent on the list — in the category of Best Classical Vocal Solo, for his EMI CD Three Baroque Tenors. It's Bostridge's twelfth Grammy nomination, and he's won twice before — a remarkable achievement for an artist who spends most of his artistic life quite outside the classical-music mainstream.
I heard Bostridge most recently on November 28, when he appeared in recital at Carnegie Hall accompanied at the piano by composer Thomas Adès. It was a strange — also strangely memorable — evening that I'm still puzzling over to some extent. Bostridge has always spiked his recitals with peculiar poses and lurches about the stage that often make it difficult to determine exactly what his specific motivation might be. He did so again at the Carnegie Hall performance, and he was matched moment by moment by Adès, who attacked the keyboard almost ferociously at times, punching out individual notes rather than sculpting phrases. One odd detail about Adès's playing: he often picked up one hand from the keyboard and stared at it momentarily, as if he was surprised that it had shown up for the performance. The overall effect was that the music sometimes seemed pulled instead of merely allowed to take shape. This unnerved me most of all during their performance of Schumann's Dichterliebe which has to go down as one of the most eccentric performances of this cycle I've ever heard. The entire recital was built around the theme of loss and personal isolation, so many of their choices made sense dramatically. Yet underneath it all, I had a strong feeling — which I'm encountering in performance more and more these days — that the artists onstage weren't particularly interested in bringing the audience into the experience of portraying alienation. For me, the high point was Dowland's magnificent "In Darkness Let Me Dwell." I couldn't help but wish that more of the recital had managed to be so chillingly desolate and illuminating at the same time.