BBC Cardiff Singer of the World 2007  Main Prize Concert 4: BBC National Orchestra of Wales conducted by Jacek Kaspszyk, St David’s Hall, 7.30pm  13.6. 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 fourth concert in the Main Prize competition.

SWEDEN: Ida Falk Winland Soprano Born 1982

Handel: Tornami a vagheggiar (Alcina)

Befitting a singer with a model’s deportment, much about the performance of this aria was perfectly poised. Every so often the flash of a smile brought both Ida Falk Winland’s face and the fluidly sung ornamentation to life.

Sibelius: Var det en dröm

There is little doubt that this Sibelius came from Winland’s heart, her soaring, rich upper register floated with ease against the fulsome orchestration. A pity, perhaps, that her lower register does not carry the same weight, although it possesses a nicely rounded tone.

Stravinsky: No word from Tom (The Rake’s Progress)

The agitation implied at the start of the aria was well conveyed, even though this was a little subdued compared to what you might hear on other occasions. Generally excellent use of the English language too.

Massenet: Je marche surtout les chemins (Manon)

Winland’s creamy and luxuriant tone was in evidence again, however the flow of the aria was interrupted twice by audience applause – clearer signalling to the audience that the music would continue by singer or conductor might have prevented this. A pity, otherwise it would have hung together well as a performance.

General comments about the performer

Somehow for all the evident charm and beauty of tone something was missing to bring this alive as a performance to remember.

IRELAND: Owen Gilhooly Baritone Born 1976

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

Owen Gilhooly doesn’t have the largest baritone voice in the competition – far from it – but he brought a quiet nobility to this Gounod aria. To aid his word pointing he should pay more attention to confident use of gesture, something that was largely absent here.

Mozart: Nur Mutig, mein Herze (Zaide)

Carrying a near oratorio kind of quality about it, this music showed that perhaps Gilhooly’s strength would lie in the area of concert rather than stage work. Good use of facial gesture to bring out the character of Allazim, the slaves’ overseer.

Rossini : Sois immobile (Guillaume Tell)

To sing in a forthright manner it’s not always a strong tone that is needed. With much subtlety Gilhooly made the point clear for all to appreciate in this aria. In his own way he is quite a stylish Rossini singer.

Rossini : Largo al factotum (Il barbiere di Siviglia)

Gilhooly was never going to give a performance to rival Levente Molnár’s in Concert 1, but what he did was refreshing in that he did not pull out all the tired, hammed up tricks associated with this aria. The conductor and orchestra though paid little credence to subtlety, as they lost no opportunity in drowning Gilhooly with a brashly produced accompaniment.

General comments about the performer

A well-mannered, presentable and likeable performer with a pleasing voice.

RUSSIA:  Anna Viktorova Mezzo Born 1981

Saint-Saens: Mon coeur s'ouvre à ta voix (Samson et Dalila)

Somewhat thickly accented, though not the worst I have encountered. It could be said, took away from the feeling of ‘tendresse’ indicated in the text. Some breathing problems were also noticeable, which in turn caused problems with phrasing.

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

Vocal control is an issue for Viktorova at present – her top register can be a bit unruly, but at least it shows temperament rather than blandness. Her snatched top note was almost lost, showing the level of risk she can take as an artist.

Shchedrin:  Varvara's Song & Chastooshkas (Ne tol'ko lyobov')

Like David D Q Lee’s choice of Jake Heggie in an earlier round, this was a strange item for inclusion in a competition, but a hugely enjoyable one with its mixture of jazzy beats meeting lounge music. 1960s Soviet realism was never far from the fray either. Viktorova weaved her hugely dedicated voice through the textural accompaniments with style to demonstrate arguably her best form in the competition. Competition music it might not have been, but in its own terms, this was great stuff.

General comments about the performer

Distinctly of the Russian singing school, it’s good to hear the tradition alive and well. Once she fixes the problems identified above Viktorova has potential for an exciting career ahead of her.

JAPAN: Mari Moriya Soprano Born 1978

Bellini: Qui la voce sua soave...Vien, diletto (I Puritani)

The opening recitative was precisely placed in Moriya’s voice, showing a good awareness of bel canto style. Vocal control and careful expression of emotion were present throughout the subsequent aria too.

Verdi: Gualtier Maldè - Caro nome (Rigoletto)

Gilda’s aria from Rigoletto requires and received poise in the voice, carrying with some subtlety the exposed vocal line over the accompaniment. By and large the harshness heard in the upper register during he song recital was absent here.

Mozart: Der Hölle Rache kocht in meinem Herzen (Die Zauberflöte)

Having used the two previous arias to gradually get the voice fully into gear, extending its range, Moriya proceeded to give a commanding performance of the Queen of the Night’s aria. Occasional intonation problems might have overly worried some, but that with a lack of overacting she still brought the character out was creditable. Lip readers might have seen conductor Jacek Kaspszyk comment “magnificent” to her at the end – at least I agree with him wholeheartedly about something.

General comments about the performer

A fine coloratura soprano already with a great deal of experience.

USA:  Ryan McKinny Baritone Born 1980

Stravinsky: I was never saner...In youth the panting slave pursues (The Rake's Progress)

Good linguistic clarity – one expects it from a native speaker, but you don’t always get it when they sing. Used the parlando quality in his voice well, and his broad smile made him an approachable performer the audience could warm to.

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

Unusual – just what I expected him to be strong in, but he wasn’t on this occasion. Quite what caused the hesitancy in his voice during the recitative or his underpowered projection during the aria who can say. His heart just wasn’t in it for this one.

Rakhmaninov:  Ves' tabor spit (Aleko)

With rich brass underlined by a lugubrious bassoon part at the start, McKinny needed quickly to re-establish some form to make an impact. This he did with good diction (some thought it clearer in style that that from singers near-native in Russian) , feeling for drama and ability to propel a compelling narrative.

General comments about the performer

Strong opening and closing pieces showed Ryan McKinny at his best, though his song recital was stronger still as an overall performance.

The Buzz From the Audience

Support for Mari Moriya was very much ine vidence, though others singers did have pockets of support also.

The Judges’ Decision

Mari Moriya was declared the evening’s winner, to much general delight. David DQ Lee, sitting behind me in the audience, did not hold back in his enthusiastic support of the decision.

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.