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
