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Seen and Heard Competition Report


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.

 

HUNGARY: Levente Molnár Baritone Born 1983

 

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.

 

KOREA: Sae Kyung Rim Soprano Born 1975

 

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


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, one of the longest established live music review web sites on the Internet, publishes original reviews of recitals, concerts and opera performances from the UK and internationally. We update often, and sometimes daily, to bring you fast reviews, each of which offers a breadth of knowledge and attention to performance detail that is sometimes difficult for readers to find elsewhere.

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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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