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Seen and Heard Competition Report


BBC Cardiff Singer of the World 2007  Main Prize Concert 3: Orchestra of WNO conducted by Carlo Rizzi,  St David’s Hall, 7.30pm  12.6. 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 third concert in the Main Prize competition.

NETHERLANDS:  Wiard Witholt Baritone Born 1978

Handel: The walls are levelled - See! the raging flames (Joshua)

Wiard Witholt started the evening with punchy and barely accompanied recitative from Handel’s Joshua, ensuring the full quality of his voice was immediately apparent. The subsequent aria had much in the way of commanding grandeur to it also; he tackled the tricky runs with relative ease.

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

A stylish account of Guglielmo’s aria, which contains more than a little humour. This aspect was left a little under-explored, given Witholt’s rather static presentation.

Korngold:
Mein Sehnen, mein Wähnen (Die tote Stadt)

Korngold’s Pierrot realises that happiness is a foolish dream, followed with no positive outcome guaranteed. There was feeling for the emotions behind the words here, even if he does have to watch the use of consonants a little along with providing adequate support for his tone to be ideally projected.

Britten:
Now you may save your scornful looks (Owen Wingrave)

Owen Wingrave’s demands for peace to rule hearts rather than war provided a neat rejoinder to the tale of conquering heroes that began Witholt’s selection. With near impeccable English at his command, Witholt proved a forthright and committed Britten baritone, his noble vocal timbre working well against the largely percussion-based accompaniment. Expressive use of body language too.

General comments about the performer

A singer clearly with a future ahead of him and several strong aspects already to his performing arsenal. More an opera singer than a lieder one, I think.

WALES: Sarah-Jane Davies Soprano Born 1975

Handel: L'amerò...È gelosia, quella tiranna (Serse)

Sarah-Jane Davies paced the aria well, but she seemed under a lot of pressure to cope with the Handel style. Not the best music for her to sing and be heard at her best.

R Strauss:
Beim Schlafengehn (Vier Letzte Lieder)

The beginning was rather held back, although Carlo Rizzi drew magnificent playing from the WNO orchestra as the piece progressed. The richly lyrical phrases that require effortless floating of the voice were well done, but could have done with a touch more feeling and volume to be ideal.

Mozart:
Ei parte senti...Per piéta ben mio (Così fan tutte)

I wish there was another way to put this: not good. Sloppy timing combined with poor top range notes to leave a somewhat unfavourable impression.

General comments about the performer

Assured of home support, Sarah-Jane was not in her best voice. Have heard better from her, but that counts for nothing in a competition situation. As for so many singers, I question her repertoire choices.

ESTONIA: Juhan Tralla Tenor Born 1974

Mozart: Dalla sua pace (Don Giovanni)

Juhan Tralla presented himself well, though his voice production appeared somewhat constrained, as in his song recital programme. Largely through the understanding of Carlo Rizzi’s conducting he gave a restrained reading of Don Ottavio’s aria. If the Mozartian line did not flow with ideal ease, he nonetheless shaped and shaded it where he could.

Donizetti:
Tombe degli avi miei...Fra poco a me ricovero (Lucia di Lammermoor)

Bel canto opera was not perhaps the what he would have wished to sing with a throat problem, given that deficiencies are likely to be hard to hide. Audibly under pressure at times, there were two fairly risky entries but with careful preparation and placing of the voice he reached the end creditably enough. All professional singers have moments of trouble on stage; dealing with them is part of the job.

Tchaikovsky:
Kuda, kuda (Eugene Onegin)

The voice is mercurial and curious thing. Precisely the quality that works against one composer’s music and be precisely what you need for another. Tralla’s Tchaikovsky was lent the feeling of inner desolation through his rather throaty, detached timbre, allowing him to express with clarity the depth of emotion felt by Lensky as he waits for his opponent at the appointed duelling hour.

General comments about the performer

Not the most luxuriant tenor sound you’ll encounter, but he is a singer I would really like to hear in good voice to discover his true capabilities. Even from his singing here it’s clear he has potential to take on some demanding roles and serve them well.

CHINA: Yang Shen  Bass-baritone Born 1984

Vivaldi: Se il cor guerriero (Tito Manlio)

With the depth of Yang Shen’s tone obvious from the start, other qualities in his sing also proved impressive: lightness of touch and evenness of control in the runs. His natural bearing showed no affectation, being noble and slightly imperious to suit the part of the Roman consul Titus.

Verdi: A te l'estremo addio...Il lacerato spirito (Simon Boccanegra)

A good, solid performance. Lacked the outward torment expressed by some in this music, but Shen chose to give a portrayal of Fiesco’s private grief, and it proved moving because if that.

Wagner:
Was duftet doch der Flieder (Die Meistersinger von Nürnberg)

As with Dmitri Vargin (Uzbekistan) in concert 2, Yang Shen pulled off the trick of getting inside an old man’s frame of mind. Not just that but be imbued Hans Sachs’ monologue with a suitable narrative quality. Vocally a few moments stretched him, but to take on Hans Sachs is no mean feat. To show that a couple of years from now he could be one of the best around is even more remarkable.

Gounod:
Vous qui faites l'endormie (Faust)

Good use of facial expression helped Shen’s Mephistopheles insinuate its way into the proceedings. Real menace was largely tightly reined in, except during the one moment of true roared laughter, but this did not stop the portrayal becoming more established as it progressed.

General comments about the performer

Such is the assurance and quality of vocal production it’s all too easy to overlook the fact he’s still just 23. Some around me found his middle range bland and it is compared with that of Ante Jerkunica’s (Croatia) when heard in the same Verdi aria. But with good teachers this is something that can be easily worked on. Needs also to show more vitality (Gounod) and movement on stage (Verdi) if he’s to become a real operatic stage bass. Yes, I think he’s really a bass, not a bass-baritone: his strength is in the lower register.

GERMANY: Evelina Dobraceva Soprano Born 1975

Mozart: Crudele! - Non mi dir (Don Giovanni)

Donna Anna is difficult role to cast. Does one opt for the lyrical soprano or a wholly dramatic one? Both can conceivably sing the part. Dobraceva highlighted the quandary that any opera house casting official would face. Hers was a performance based in the lyrical soprano mould – not barnstorming with its emotion, but quietly pleading. Vocally though she showed depth of tone and careful restraint as well as tasteful precision. Yet again Carlo Rizzi proved his worth as a sensitive accompanist.

Puccini: Chi il bel sogno di Doretta (La rondine)

Puccini’s ever-fresh aria is exactly right for Dobraceva’s voice, be it in terms of timbre, size of sound required, sensitivity to every quivering emotion and delicacy of approach.

Weber:
Wie nahte mir der Schlummer - Leise, Leise (Der Freischütz)

Getting the measure of Weber’s music is no easy thing, but Dobraceva has it. Using a technique that does most things well – work on high notes is needed – she gave a moving and almost flawlessly controlled performance of Agathe’s aria. It’s a slender yet warm soprano that carries well at most dynamics. The fact she can produce fortissimo singing when needed is a bonus, rather than her strong point.

General comments about the performer

A much more favourable account of her abilities was given here than in the song recital prize. A stylish singer with a beautiful sound.  Hopefully some opera houses will be tempted to stage Der Freischütz  in a while also

 

The Buzz From the Audience

After a fairly routine first half (judging by the audience reaction), the first person to set the crowd buzzing was Yang Shen. Evelina Dobraceva did well to follow Shen’s performance and impressed many also, confirming that she has a delightful voice that is used with intelligence.

The Judges’ Decision

The evening’s winner was announced as Yang Shen. For the second night running a popular decision. The more cynical members of the audience around me complained that it was all in aid of building an interesting final for the television viewers. I think not; Shen’s performance had undeniable merits in a singer of his age. He should continue to have a distinguished career ahead of him. Will he make it the final though?


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. This concert will be broadcast on BBC FOUR this evening (13th June) at 7.30 pm
 


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Contributors: Marc Bridle, Martin Anderson, Patrick Burnson, Frank Cadenhead, Colin Clarke, Paul Conway, Geoff Diggines, Sarah Dunlop, Evan Dickerson Melanie Eskenazi (London Editor) Robert J Farr, Abigail Frymann, Göran Forsling,  Simon Hewitt-Jones, Bruce Hodges,Tim Hodgkinson, Martin Hoyle, Bernard Jacobson, Tristan Jakob-Hoff, Ben Killeen, Bill Kenny (Regional Editor), Ian Lace, John Leeman, Sue Loder,Jean Martin, Neil McGowan, Bettina Mara, Robin Mitchell-Boyask, Simon Morgan, Aline Nassif, Anne Ozorio, Ian Pace, John Phillips, Jim Pritchard, John Quinn, Peter Quantrill, Alex Russell, Paul Serotsky, Harvey Steiman, Christopher Thomas, Raymond Walker, John Warnaby, Hans-Theodor Wolhfahrt, Peter Grahame Woolf (Founder & Emeritus Editor)


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