Ekaterina Siurina/Luis Gomes (Wigmore Hall, 16 March 2016)
Siurina’s partner, Charles Castronovo, was scheduled to perform but once again he eludes me. Instead we got to hear a young singer which we (I) remember from the 2014 JPYA at Royal Opera House Summer Show, in which he was (o mio) Fernando. Siurina is quite well known as for instance Adina in L’elisir d’amore, or Ilia in that Salzburg Idomeneo where Harteros chews scenery, but readers with similar tastes to mine might remember this image even better:
Indeed, I first came across her as dreamboat Servilia in the famous Paris “Potato” production of Tito. I looked up her Askonas Holt profile and it seems a Morgana and a Cleopatra are the works. Bring them on, I say.
Ekaterina Siurina soprano
Luis Gomes tenor
Iain Burnside piano
Suzel, buon di (L’amico Fritz)
L’alba separa dalla luce l’ombra (Quattro canzoni d’Amaranta)
La pastorella dell’Alpi (Les soirees musicales)
Malinconia, ninfa gentile
Giacomo Puccini (La Boheme)
Che gelida manina
Mi chiamano Mimi
O soave fanciulla
Temperamentally Siurina and Gomes are very different. He earnest and impetuous, she playful and cute as a button. If he came into his own with Che gelida manina, for which he has the passion and Italianate tone, her most memorable point before the interval was Rossini’s La pastorella dell’Alpi. Siurina’s gift for comedy and witty phrasing of the (very silly) coloratura were pure delight.
Me voila seule dans la nuit… Comme autrefois (Les pecheurs de perles)
Sergey Rachmaninov 1
Sing not to me, beautiful maiden/Ne poy, krasavitsa, pri mne (6 Songs Op. 4 No. 4)
In my Garden at Night/Noch’yu v sadu u menya Op. 38 No. 1
To Her/K ney Op. 38 No. 2
How fair this spot/Zdes’ khorosho Op. 21 No. 7
They Answered/Oni otvechali Op. 21 No. 4
A Dream/Son Op. 38 No. 5
Spring Waters/Vesenniye vodï Op. 14 No. 11
Charles Gounod (Romeo et Juliette)
Ah, leve toi soleil!
Va, je t’ai pardonne… Nuit d’hymenee
In terms of skill it was hard not to notice Gomes was the junior partner in this joint. Both of them have large enough voices to make your ears ring even when sat at the back of the hall. Driven by youthful enthusiasm, Gomes took every opportunity to soar as Italian tenor in full cry. There’s no doubt this is his path, a path that allows a good deal of shouting, but when he chose to sing one of the Russian songs entirely below full power it wasn’t unpleasant at all. A bit of variation in volume dynamics is a good thing even for his preferred repertoire. When in duets the both of them turned up the volume to the max the sounds became harder to distinguish, let alone the words. That’s a shame, because he has a beautiful, manly tone up and down the range which we want to hear and bask into.
For her part, Siurina showed a variety of dynamic approaches. Though not a small voice, hers it’s remarkably vibrato-less and still wonderfully flexible. I’m not sure whether the Russian songs were more uplifting than usual or it’s just her light hearted personality as she breezed through them. I’d say she doesn’t sound like the typical Russian soprano. In the Italian songs she balanced between a “relaxed” manner and a full on operatic one, which I thought was rather interesting and reminded me of Antonacci’s way of singing them.
Burnside accompanied but I have to say between each of the singers’ pizzazz I lost him. In any case, this was an interesting break into my Handel-fest. Will definitely make time for Siurina’s recitals in the future and perhaps I’ll catch Gomes when I venture into his repertoire.
- I don’t know if the Russian is correct, I copied it off Wigmore Hall’s site. ↩
Posted on March 18, 2016, in bellini, donizetti, live performances, rossini, sopranos, tenors, wigmore hall and tagged charles gounod, ekaterina siurina, gaetano donizetti, georges bizet, giacomo puccini, gioachino rossini, luis gomes, paolo tosti, pietro mascagni, sergey rachmaninov, vincenzo bellini, wigmore hall. Bookmark the permalink. 1 Comment.