Jakub Józef Orlinski celebrates 100 years of Polish independence (Wigmore Hall, 13 June 2018)

You know how I always say that if the singer is French, the Wiggy audience gets a major influx of French speaking people, if the pianist is Korean – etc. Well, in this case there was an extra reason everybody seemed to speak Polish – the concert was broadcast on Polish TV and it was part of the celebrations around a century of Polish independence. It was a bit weird being there casually, as a lot of people around me seemed to be patriotically invested in the event.

I do actually have a personal story to go with this, and it’s as usual rather amusing. You know how we in Eastern Europe are always mixed with this and that. Well, so am I. For the longest time the story – told by mum – was that I was part Polish on my dad’s side. A couple of years ago she goes “oh, Czech, like your people”. Of course I was like :-O! “wait a second, didn’t you say we were Polish?” And she was like “oh, one of those!” She, who makes a way bigger deal about her heritage than I do, was so casual about my heritage! You can imagine that for a moment or two the pillars of my identity got a good shake. I may not make a bog deal about it but I do care about accuracy. Anyway, I’m none the wiser (due to complicated communication issues within my family), but thanks to the confusion I felt a bit (more?) Polish that night.

Jakub Józef Orlinski countertenor
Michal Biel piano

George Frideric Handel (1685-1759)
Inumano fratel … Stille amare Tolomeo HWV25

Henry Purcell (c.1659-1695)
Music for a while Z583
If music be the food of love Z379c
What power art thou (Cold Genius aria) Z628
Strike the viol Z323

Franz Schubert (1797-1828)
Auf der Donau D553
Die Stadt Schwanengesang D957
Nachtstück D672

Reynaldo Hahn (1874-1947)
A Chloris
Mai
Paysage
Fêtes galantes
L’heure exquise

Interval

Karol Szymanowski (1882-1937)
Kurpie Songs Op. 58
Lecioly zórazie
Wysla burzycka
Uwoz mamo
U jeziorecka

Tadeusz Baird (1928-1981)
Four Love Sonnets

Pawel Lukaszewski
Jesien

George Frideric Handel
Agitato da fiere tempeste Riccardo Primo, re d’Inghilterra HWV23

And indeed, in spite of the Handel arias, I actually enjoyed the Polish songs best, as Orlinski sounded to me very relaxed and at home in them. He has style (including versatility), intelligence and sensitivity, as well as presence and a very bright and enjoyable top, only lacking a wider range. There are a few countertenors I’ve heard so far who have a certain segment of their voice where things are top notch and they, quite understandably, march on arias and parts that showcase that particular segment. It’s not hard at all to figure out what that is, as you will hear it again and again during a recital. It’s of course, pleasant like witnessing a homerun, but it does also point to the limitations of a voice.

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About dehggial

Mozart/Baroque loving red dragon

Posted on July 30, 2018, in 20th century, baroque, countertenors, live performances, romantic opera, wigmore hall and tagged , , , , , , , , . Bookmark the permalink. 2 Comments.

  1. Ah Eastern European identity! The lemurdad’s ancestral village has at various points been part of the Austro-Hungarian empire, Poland, the Soviet Union and the Ukraine. But they are Jewish so nobody claims them anyway! Also what a fantastic name for a national anthem “Poland is Not Yet Lost” (though nobody is quite sure where it is this week).

    • “Poland is Not Yet Lost” – it’s quite amazing how anyone has kept their (motley) identity in Eastern Europe after pretty much every bit of land has been under different rule over the centuries. Or maybe that’s why, everyone gets their turn at some point 😉

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