BBC Cardiff Singer of the World 2007  Main Prize Concert 2: BBC National Orchestra of Wales / Jacek Kaspszyk , St David’s Hall, 7.30pm 11.6.2007  (ED)

For each round of both competitions, Evan Dickerson offers his impressions of the competitors, their repertoire and the buzz from the audience. Here is his report on the second concert in the Main Prize competition.

NORWAY:  Johannes Weisser Baritone Born: 1980

JS Bach: Mache dich, mein Herze, rein (St Matthew Passion)

The chief virtue of this extract from the St Matthew Passion was that it never sounded stolid or set in its ways. Conveying a sense of reverence, Weisser’s voice was nonetheless well projected.

Mozart: Hai già vinta la causa!...Vedrò mentr'io sospiro (Le nozze di Figaro)

The music brought out a lightness of tone in Weisser’s voice, which aided his articulation of Mozartian line. That said, he increased the scale of his voice to fit the urgency within the text.

Wagner: Wie Todesahnung...O du mein holder Abendstern (Tannhäuser)

Wagner is sometimes wrongly thought to be just a composer of grandeur and bombast. Weisser, however, showed Wagner’s more refined side. He coped well with the difficult held lines and injected a sizable amount of lyricism into the Hymn to the Evening Star.

General comments about singer

Johannes Weisser impressed in the song competition (Recital 1) with his lieder-abend style programme. His programme here  showed what he could do in mainstream repertoire. Some in the audience doubted the wisdom of both his Bach and Wagner – but for me they caused few concerns.

LITHUANIA: Sandra Janusaite Soprano Born 1974

Halevy: Il va venir (La Juive)

Sandra Janusaite started too tentatively, as a consequence never really gained her form in this aria. Questionable intonation was largely apparent.

Wagner:  Du bist der Lenz (Die Walküre)

Janusaite had a fair measure of the vocal size and flow required for Sieglinde’s aria, but concern over hitting the notes meant that in amongst the momentum of the music the communication of exhilaration came across rather thinly. Perhaps the part is not totally suitable for her.

Puccini: Donde lieta uscì (La bohème)

Far better was the overall impression made in the Puccini aria. Sung with obvious feeling, many in the hall found this rather impressive.

Tchaikovsky: Gde zhe ty moy zhelanyi? (The Enchantress)

She has the right tone and the subtleties of communication for Tchaikovsky. Occasional intonation problems in the top range hinted at an area of vocal production that needs to be brought fully under control.

Mascagni: Voi lo sapete, o mamma (Cavalleria Rusticana)

See the Puccini and Mascagni comments above: I’d only add that she also needs to watch how fortissimo notes are prepared and attacked from below. Once in full flight they can be thrilling, but getting there seems hard work currently.

General comments about singer

Janusaite came across as a rather all-purpose soprano. Once a few technical issues are addressed there is no doubt that she’ll be employable across a wide repertoire. I have my doubts about her suitability for Wagner at this stage in her career though.

UZBEKISTAN: Dmitri Vargin Baritone Born 1978

Gounod: O sainte médaille...Avant de quitter ces lieux (Faust)

Dmitri Vargin’s tone is somewhat throaty and he struggled occasionally with reaching high notes. That aside he brought character to his interpretation, affection, tenderness and military pride were all carefully place within his singing.

Mendelssohn: Es ist genug (Elias)

The difficulty for a young singer to feel and adequately communicate the emotions of an older person should never be underestimated. Vargin successfully got within the character of Elijah to bring out some pathos, world-weariness and plenty of surrounding atmosphere in the prophet’s farewell to life.

Mozart: Rivolgete a lui lo sguardo (Così fan tutte)

A nice contrast with the preceding item, as it allowed for humour and lightness of touch to be explored. As he relaxed fully into the aria, you got the sense of a personable and watchable baritone as well as one who can style Mozart with confidence.

General comments about singer

At his best in Mozart he acquitted himself well. For depth of musical intelligence though the Mendelssohn won the day.

CANADA: David DQ Lee Counter tenor Born 1978

Handel: Va tacito e nascosto (Giulio Cesare)

As Handel forms a core part of any counter-tenor’s repertoire, it is important that he finds the right mixture of nobility and floridity in the style to be able to cope well with the composer’s demands. This he did, aided by a solid breathing technique.

Haydn: A chi mi volgo...Ah che morir vorrei (Arianne a Naxos)

He dared to use a thread of vocal tone for much of the recitative, which contrasted well with the subsequent aria. It was fully possessed of passionate involvement befitting Arianne’s desire to die. Expressive gestures underlined the point.

Berlioz: L'île inconnue (Les nuits d'été)

Berlioz’s sea-tossed journey to the land of love was rather more of a boat caught on a mildly swelling tide, such was  the lack of emotion brought to it by the orchestra. As a consequence Lee’s singing was restrained – I’d have liked more outward passion from him in this music.

Jake Heggie: A Route to the Sky (The Paper Wings No 4)

Just as with the Erl-king in the Song Prize opening concert, Lee sought  the opportunity to pull another crowd-pleasing rabbit out of the hat with Jake Heggie’s uproarious setting of lyrics by mezzo Frederica von Stade, beginning with a pastiche of Beethoven’s “Für Elise”. It’s the kind of thing that the singer just has to go for, no holes barred – which is exactly what he did. Entertaining, yes, but intelligent use of his voice also.

General comments about singer

Who says counter-tenors should only sing Baroque music? I don’t, for one. He’s a one off, taking all the chances he can get to have the audience on his side – as such he’s assured support in the audience prize stakes. That he makes modern music approachable too is no bad thing.

UKRAINE: Julia Griniuk Mezzo Born 1977

Mozart: Parto, parto (La clemenza di Tito)

A fairly solid and confident performance with more than adequate use of ornamentation.

Offenbach: Vois sous l'archet fremissant (Les Contes d'Hoffmann)

More distinguished that the preceding Mozart, this Offenbach was richly lyrical in character, showing good vocal support at work.

Tchaikovsky:  Da, chas nastal (The Maid of Orleans)

Whereas the preceding pieces left things to be desired in their emotional commitment, this aspect could not be doubted here, as Joan of Arc set out on her mission to be France’s saviour. With language posing no problems Griniuk played her trump card, unafraid of any technical obstacles or dramatic involvement.

General comments about singer

A Tchaikovsky soprano to watch out for – and how the opera world needs them.

 

The Buzz From the Audience

The Lithuanian soprano had her supporters and detractors. The Uzbekistan baritone impressed many also, as did the Ukrainian mezzo. Canadian counter-tenor David DQ Lee blew them all out of the water in terms of popularity. Love him or hate him, you could not ignore him. One audience member said, “He’s the countertenor I’ve waited my life to hear.”

The Judges’ Decision

David DQ Lee was declared the evening’s winner to a great roar of applause. Is this a jury that wants to be seen to go with the popular vote? That could depend if he makes it to the final or not. From this round Lee has to the front-runner for consideration despite Dmitri Vargin’s best efforts.

 

Evan Dickerson

The Main Prize Final will be broadcast on BBC TWO on Sunday 17th June from 5.30 pm - 8pm Presenters: Sian Williams, Aled Jones.