Jazzy Sonia Prina (Wigmore Hall, 10 September 2017)

Sonia Prina contralto
Paolo Spadaro Munitto piano

Claudio Monteverdi (1567-1643)
Voglio di vita uscir
Lamento d’Arianna
Béla Bartók (1881-1945)
Three Hungarian Folksongs from Csík BB45b
Henri Duparc (1848-1933)
Au pays où se fait la guerre
L’invitation au voyage
Chanson triste
A piece from Feuilles volantes Op. 1
Manuel de Falla (1876-1946)
7 canciones populares españolas

Interval

Mátyás Seiber (1905-1960)
4 French Folk Songs
Fryderyk Chopin (1810-1849)
Chanson lithuanienne Op. 74 No. 16
Lamento Op. 74 No. 9
Madrigal Op. 74 No. 12
La jeune fille et le fleuve Op. 74 No. 3
George Gershwin (1898-1937)
The Man I Love
3 Preludes
No. 2 Prelude in C sharp minor
Erroll Garner (1923-1977)
Misty

Encore:

Bella Asteria Tamerlano

Don’t we all want to hear our favourite singers occasionally step out of the same old, same old?

No?

No?

😉

Regardless of what we want, they sometimes do. In this case Prina put on a dress and spent most of the evening crooning. One’s personality comes out well rounded in recitals and so there were still enough fist pumping moments as well as humour (the Bartók songs). Mostly, though, it was an evening that quite naturally lead into Bella Asteria.

Perhaps it was a logical response to unfamiliar sounds (though the songs in themselves were entertaining), but I’ve never heard a more beautiful rendition of Andronico’s serenata. This isn’t an aria that normally makes me purr, plus when she was in London for Ariodante she’d sung it in her BBC interview and I was quite unconvinced. But though she herself admitted she was tired, this time it came out really pretty. Her ppps were on fire all night, as was her phrasing.

The Duparc set seemed to me the most suited to her voice – she did it very low and velvety so now that I heard the songs that way I don’t want to hear them any other way. Her “vocal meandering” in L’invitation au voyage was exquisite.

The least suited was the de Falla stuff, which seemed to me like, in spite of her dramatic involvement, never quite bloomed. I kept thinking it needs ping, but aside from the tartness her voice gets at the very top when she’s loud, there’s no ping in her voice.

Baroque Bird joined me at the show at least in part because I managed to misplace all my Autumn Wiggy tickets and needed a reprint :o! She knows more about music than I do and she gave me some pointers regarding the piano, which is an instrument I don’t quite get (as in, I don’t normally know what I’m supposed to be looking for).

According to her, Spadaro has a particular feel for jazz so the second part came out more naturally to him. I was seated on his side and all I could say was that he was too loud in general. After she mentioned it, I could follow that he tends to finish songs quite abruptly, which on occasion I thought hampered Prina when was going for a dreamy atmosphere. But she likes him and she obviously teamed up with him for that jazzy feel she was after all night.

The jazz stuff sounded very well – Baroque Bird had come especially for that and was so happy with the result she said she’s all for Prina singing/recording more of that – and it got me thinking that Baroque specialists have the advantage of that more relaxed style of singing when it comes to song in general. It never felt like there was a break in styles, the show just flowed very naturally, though Prina did get into the spirit of things (I can tell you she had the right temper and timing for the Bartók stuff).

It left me in a very mellow mood, basking in her pps and tangy frutti di bosco gelato tone and wondering how things would’ve been if she went the jazz route instead.

About dehggial

Mozart/Baroque loving red dragon

Posted on September 11, 2017, in live performances, mezzos & contraltos, wigmore hall and tagged , , . Bookmark the permalink. 7 Comments.

  1. wondering how things would’ve been if she went the jazz route instead
    but you (and I, or us) wouldn’t have discovered her! 🙂

  2. Why is there no broadcast or recording, I’m so curious about how this turned out! No way to tell unless hearing it yourself, but I guess that frutti di bosco gelato tone would have appealed to me! How was the Monteverdi?

  3. I tried to look up some other press coverage of this, but it seems there is none, at least nothing online, this is the only real review that appears on google! (I’m still wondering about the jazz stuff, maybe over time something will appear on YT eventually)

    • She might sing this setlist somewhere else? Her love for jazz isn’t a secret, I have a feeling she’ll sing it again (also she appears to be very confident with these songs). Sometimes the local coverage is strange – that time when Ann Hallenberg put my review on her FB it was the same.

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