BBC Cardiff
Singer of the World 2007, Song Prize
Recital 4:
New Theatre, Cardiff 2.00pm
12.6.2007 (ED)
For each round of both competitions,
Evan Dickerson offers his impressions
of the competitors and their repertoire. Here
is his report on the third recital in
the Song Prize competition.
FINLAND:
Helena Juntunen Soprano Born 1976
Accompanist: Eveliina Kytömäki
Toivo Kuula: Suutelo
(Songs, Op 8 No 1), Karjapihassa
(Songs, Op 31a No 2)
A firm technique was in evidence from
the start, Juntunen’s lyric yet
powerful chest voice carrying sway in
much of the first song. The second saw
much in the way of subtleties being
teased out of the text.
Haydn: A Pastoral Song
Haydn’s song carried a fitting
innocence about it in Juntunen’s
singing, being gently yet definitely
characterised that said much for her
ability to convey youthful restraint
in her vocal tone.
R Strauss: Mein Herz ist
stumm (Songs, Op 19 No 6),
Cäcilie (Four songs, Op 27 No 2)
The attribute of vocal opulence, much
required in Strauss’ songs, was in
evidence here. Cäcilie received one
of the more convincing performances of
the week, being aided by a near
breathless quality in the voice at
times and impetuous playing by
Eveliina Kytömäki.
General comments about the
performer
A good recitalist whose light and
clear tone is well suited to song. She
has good stage deportment too.
BRAZIL:
Luciano Botelho Tenor Born 1975
Accompanist: Llŷr Williams
Wolf: Fussreise;
Verborgenheit (Mörike-Lieder)
Wolf's songs were presented with charm
and intelligence by Botelho. His
feeling for the emotions behind the
texts he sang was secure. Even if he
did not draw as much from the words of
Verborgenheit as others do, it
was stylish singing.
Fauré:
Nell (3 Chansons, Op 18 No 1),
Fleur jetée (Songs, Op 39 No 2)
His Fauré flowed with largely lyrical
qualities in the first song, whilst
the second conveyed a deeper emotional
depth.
Villa-Lobos: Nhapôpé; Lundú
da Marqueza de Santos (Modinhas e
Cançőes)
Under-appreciated as Villa-Lobos’
songs are, Botelho presents them
creditably. His instinctual feeling
for the mystery inherent in the first
song or the dark-tinged sadness of the
second was equalled by his ability to
convey the qualities in his singing.
General comments about the performer
Immediately impressive was the warmth
of Botelho’s stage presence, which
established itself without artifice or
showiness. His tone is pleasing also,
which helped many in the audience find
him a rewarding singer to hear.
ENGLAND:
Elizabeth Watts Soprano Born 1979
Accompanist: Phillip Thomas
Schubert:
Liebe schwärmt auf allen Wegen; Im
Abendrot
The first song, although brief, was
clearly sung. Watts’ lightly flowing
voiced aided expression. Legato
evenness of restrained vocal
production marked the second song out
for attention; Watts coping well with
positioning the exposed sung line
against the minimal accompaniment.
Rakhmaninov:
Zdes' khorosho; Oni Otvechali
(12 Songs, Op 21 Nos. 7 and 4)
Of these two songs the second made the
greater impact thought its urgency and
poise.
Barber:
Sure on this Shining Night
(Songs, Op 13 No 3)
Watts’ bell-like tone helped Barber’s
song to carry a degree of lustrous
warmth that radiated softly around
Cardiff’s New Theatre,
Poulenc:
C; Fętes galantes (Deux Počmes
de Louis Aragon)
The poignancy of C was made
clear, and Elizabeth Watts enunciated
Fętes galantes coquettishly to
bring her programme to a light-hearted
conclusion.
General comments about the performer
Many of the songs in this programme
underlined the point that Watts is
singer best heard in intimate
surroundings and at reasonably close
range. The much more spacious
environment of St David’s Hall often
worked against conveying much of the
character in her voice to the
audience.
Accompanist: Simon Lepper
Schubert:
Erlkönig (D328)
Kodaly:
Kit kéne elvenni? (Háron Magyar
Népdal)
Bartok:
Elindultam szép hazámbul (Háron
Magyar Népdal No 1)
Kodaly:
Elmenyek, elmenyek (Háron
Magyar Népdal No 35)
Bartok:
Által mennék én a Tiszán ladikon
(Háron Magyar Népdal No 2)
Schubert:
Der stürmische Morgen (Winterreise)
Tiberiu Brediceanu:
Cantec Haiducesc
Kodaly:
Toborzó (Háry János, Op 15 No
22)
I’m deliberately breaking the
reviewing format I’ve adopted here.
The reason? To retain in tact the
unorthodox programme order that
Levente Molnár presented. It’s
strange, to say the least, that he
should move from Schubert to a mixture
of Bartok and Kodaly, only to return
to Schubert before interjecting a song
in Romanian from Tiberiu Brediceanu
and ending with another Kodaly piece.
What logic was behind the decisions
that formed that sequence? It’s not
the first time this week I have
considered that question, either.
As for the performances, they were a
mixture of the gesturally restrained (Erl-king),
combining refined emotion and great
passion (the first Kodaly song),
nostalgia (the first Bartok) or rather
forced tone in an attempt to bring
across something of the brigand (Brediceanu).
Whilst these elements might be worthy
in themselves and make sense when
placed alongside other repertoire, one
after another they are hard for a
listener to take. Even the two
Schubert songs were large scale. Simon
Lepper made brave stab at the
difficult parts thrown his way.
General comments about the performer
Having hardly heard a note sung more
subtly that mezzo-forte, I wonder if
he’s just a loud singer. On this
showing I would not overly relish an
evening of song with him as the sole
artist: better knock back a shot of
strong palinka to get you in the mood.
Accompanist: Phillip Thomas
Respighi: Storia breve;
Notte; Povero cor (Sei Melodie)
I wonder how often Respighi songs are
heard in Korea? Certainly not a place
I’d expect them to be well known, but
Sae Kyung Rim sang them as if they
were second nature to her, with
tonally aware voice production and
impetus that propelled her
interpretations along.
R Strauss: An die Nacht
(Brentano Lieder, Op 68 No 1);
Schlechtes Wetter (5 Kleine
Lieder, Op 69 No 5); Cäcilie (4
Songs, Op 27 No 2)
If not carrying ideal lightness of
timbre, these Strauss songs showed an
area of Rim’s repertoire that has
definite potential, but needs further
work. Most successful was Schlechtes
Wetter, as the song suits her
naturally dramatic style of delivery.
General comments about the performer
Some very good and some not so good.
When Sae Kyung Rim finds an even keel
and has gained some more experience as
a lieder singer, there is potential
for her to give of her best, providing
the repertoire plays to her strengths.
The finalists are…
China – alright, maybe the jury hear
more potential as a lieder sing than I
do.
Australia – a surprising choice, many
felt.
USA – good, easily the best programme
in all the concerts, excellently sung.
England – much stronger in song than
orchestral music; understandable.
Hungary – now that is a shock. One
request: can he sing something quiet
in the final, just so we know he can
do it if nothing else.
Evan Dickerson
BBC
Radio Song Prize Broadcasts
Recitals 1-4 will be broadcast on BBC
Radio 3 from
Tuesday
12-Friday 15 June between 1pm and
2.30pm. Radio 3 will also
broadcast The Song Prize Final on
Saturday 16th June. Presenter:
Fiona Talkington with guest Catherine
Bott.
Details of BBC Radio Wales / Radio
Cymru broadcasts are
Here
