Category Archives: wigmore hall

Roberta Invernizzi, the softer version (Wigmore Hall, 20 October 2017)

Invernizzi and Co. decided to run this show without an intermission which I thought would suit most, as we’d all make it home sooner rather than later (in my case I had an early shift to wake up to). But people are odd – even though we got to the end 20-30min sooner, people still got up to leave before the encores. Where are people rushing to?

Roberta Invernizzi soprano
Accademia Hermans
Fabio Ciofini conductor/harpsichord

George Frideric Handel (1685-1759)
Scherza in mar la navicella Lotario HWV26
Ah, mio cor Alcina HWV34
Traditore, traditore Berenice HWV38
Trio Sonata No. 6 in G minor HWV391 Op. 2
Giulio Cesare in Egitto HWV17:
Tu la mia stella sei
Piangerò la sorte mia
Sinfonia bellica
Da tempeste il legno infranto
Che sento? Oh dio! Morrà Cleopatra ancora
Se pietà di me non senti

Encore:

Lascia ch’io pianga Rinaldo
Da tempeste (reprise)

Invernizzi interestingly started with the light hearted aria about the boat, the one I discovered with Karina Gauvin earlier in the year. Considering they sang some of the same material, it was interesting to compare the results. There is a tendency to sacrifice the first aria whilst getting your voice in gear. I couldn’t say Invernizzi needed a lot of tuning in but I had more fun with Gauvin’s version, which came at the end of the first half.

Ah, mio cor, on the other hand, was less dramatic in Gauvin’s interpretation. With Invernizzi this was the moment I perked up and started to imagine her singing the whole role. Now, interestingly, if you listen to each of their ‘navicella (Invernizzi | Gauvin) you might get the opposite impression (that Gauvin, with her denser voice, would be better suited for Ah, mio cor). I did think Invernizzi’s voice was a bit light for Alcina but somehow she fleshed Ah, mio cor into the compelling moment it should be. These days she seems less interested in technical dazzling.

Baroque Bird commented that Accademia Hermans managed to pick the most boring Trio Sonata Handel had ever written 😉 Well, it wasn’t particularly interesting. We spent some time during the intermission (what? I mean after the show…) trying to remember if it had 3 or 4 parts. I thought there were four (slow/fast/slow/fast) with the third particularly boring, or perhaps it just came out unfocused, but the last fast one not too bad. I didn’t have too much issue with the band this time and will admit to using a bit of time conducting scientific research started at TADW a couple of days before (subject: cellists and toned upper arms).

Baroque Bird thought they didn’t feel very comfortable with Da tempeste. I, on the other hand, was very comfortable with it and I was quite pleased to hear it 1 1/2 times more in the past week. After much whinging, Cleopatra’s ship makes it into the port of Good Times and the audience (your truly) cracks a smile. What more can one want, indeed. Well, perhaps the whole aria encored 😉 It’s really too bad Cleo doesn’t have more arias along those lines (Da tempeste is a good conversation starter regarding Cesare. It’s normally the one that comes up as my favourite – right before I think “wait, how about Se in fiorito1? Svegliatevi nel core? Quel torrente? L’aure che spira?” – after which I remember it’s a pretty good set).

Now that I was forced to hear Piangerò la sorte mia twice as much as I normally would like in any given week, I have discovered I rather enjoy the play with harmony Handel does later in the piece.

The last time I saw Invernizzi was almost a year back in a joint concert with Prina. On paper it looked great, in the house I felt like Prina outshined her somehow or, for some reason, things came off very quiet instead of the fiery interaction I’d envisioned. This time it occurred to me that her manner of singing reminds me of Galou (the way I hear it, they’re both “abstract” singers) so perhaps pairing them would work better (for me).

My favourite Invernizzi “trick” is the way she can stop the sound short without giving you aural whiplash in the process. It’s like turning off the ignition when the car is starting to roll down the hill. Hallenberg and other light voiced Baroque specialists also do a variation of this but Invernizzi uses it very particularly and both for musical and dramatic purposes at the same time. It helps her “turn direction” unexpectedly.

So a tad less showy, more introspective Invernizzi? Why not…


  1. yes, I know, I’m a sucker for arias about coy little birds… especially when sung by contraltos. There is an English version too: Fleet o’er Flowery meadow glinding. How’s that for a tongue twister? 
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The Catalan German Piano ™ jams with the lo-fi czardas caballeros (Xavier Sabata, Wigmore Hall, 9 October 2017)

Wiggy usher (opens a window): oh, hello darling!
Woman: hello! I’ve never heard this band before, are they any good?

Xavi Sabata countertenor
(dis)Armonia Atenea, George Petrou director

Antonio Vivaldi (1678-1741)
Concerto for Strings in G minor RV157
Giuseppe Maria Orlandini (1676-1760)
Ciò che donò la frode … Alza al ciel pianta orgogliosa Adelaide
Francesco Bartolomeo Conti (c.1682-1732)
In te, sposa Griselda, mi uccido … Cara sposa Griselda
Antonio Vivaldi
Trio Sonata in D minor Op. 1 No. 12 RV63 ‘La follia’
Pietro Torri (c.1650-1737)
Vorresti col tuo pianto Griselda
Antonio Vivaldi
Gelido in ogni vena Farnace RV711

Interval

George Frideric Handel (1685-1759)
Admeto, re di Tessaglia HWV22
Introduzione
Orride larve!
Chiudetevi miei lumi
Johann Adolf Hasse (1699-1783)
Viver vogl’io sempre per te mio dio … Or mi pento La conversione di Sant’Agostino
Antonio Vivaldi
Mandolin Concerto in C major RV425
Attilio Ariosti (1666-1729)
Spirate, o iniqui marmi … Voi d’un figlio tanto misero Caio Marzio Coriolano
Giuseppe Maria Orlandini
O del mio caro ben … Già mi sembra al carro avvinto Adelaide

Encore:

Lorca poem in Greek
Delizie e contenti Cavalli

Yes, the “…” are supposed to be not particularly subtle pregnant pauses liberally placed.

And, no, the moniker “German piano” isn’t my invention, because I know nothing about pianos, German or otherwise. I nicked it from Baroque Bird, who actually owns a piano (German?).

I do however know a bit about the – trv kvlt – black metal sound, which I occasionally reference around here, most famously in relation to Roschmann’s “facial” during Non piu di fiori 😉

In this case, it’s what the band’s sound at “shredding time” reminded me of. Those of you not familiar with (the second wave of) black metal should note vintage bm is the most trv kvlt-sounding of all extreme metal genres1. Forget death metal growls, forget industrial’s… industrial sounds; bm’s vision2 is:

  1. get beat up instruments from a decrepit second hand shop
  2. drag them through thickening mud
  3. plug them in (bonus if you get electric shocks on occasion)
  4. shred in unison only
  5. place boombox from 1981 (previously run over by a lorry) about 50m away from the instruments
  6. hit record (hit it like you mean it)
  7. rip out the tape’s ribbon
  8. shred it to pieces
  9. piece it together randomly with used sellotape
  10. shake well until you achieve complete homogenisation of sound
  11. save on your laptop using the lowest sound quality possible
  12. play loudly on said 1981 boombox
  13. = masterpiece!
  14. bonus: take yourself very seriously
  15. ps: don’t believe me?

I (being the kind hearted optimist you know and love) prefer to think this was Petrou’s mission statement, rather than a showcase for the band’s actual skills.

Or I did back in Halle this past June, when I blamed it all on boogie the acoustically challenged venue.

They did come up with a new twist here – perhaps they did it in Halle too, and the acoustics were indeed so echo-y the whole thing bounced off my skull and got lost. This new(?) twist was the czardas-turned last ritornello in La follia, that unfailing old Vivaldi chestnut. Or was it a sirtaki? Now I seem to remember it’s customary to make sure your violin keeps in tune for a czardas

but I’m not a musician, so I can go stick my opinion in a blog or something, right?… all I’m saying is I’ve actually (or literally) had my ears checked recently and they have passed the MOT.

This Summer I listened to more Currentzis than I cared to and to be fair, that

pregnant pause thing

has its merits. But this time I really hurt for some legato with that pregnancy. It should still flow, shouldn’t it? I don’t know if you, dear reader, are familiar with Tracey Emin’s hand drawings, but suffice it to say that drawing skills aren’t prerequisite for becoming a contemporary fine art superstar. Still Tracy Emin surprised us with her humble side a few years back when she suddenly put some effort into honing her inner Picasso. The night’s orchestral accompaniment was the aural equivalent of that when it came to negotiating dynamics (and, often, tune).

dehggi (during the Cavalli encore): ah, so exquisite! Even the violins are more in tu… nevermind, I spoke too soon. But Sabata should sing more of this stuff.

After all, we were all there to hear him. I for one wanted to see him live specifically for his dramatic talents. At one point (right after the intermission?) he walked out with the band. The aria had a very long intro so he stood quietly to the side. All of a sudden he walked decisively towards the centre of the room, but not “hi all, listen to my next aria”, which is how it often feels like in recitals. Or how Antonio Poli walked off stage after a really good rendition of Il mio tesoro in the staged Don Giovanni at ROH :-p 3 No, this was thoroughly in character well before he started singing. And then things got even better because he has a very good technique that serves him up and down the range. And, you know, he‘s in tune.

At first I didn’t quite know what was happening because I barely heard him during the first aria and I lay some heavy blame on his projection or lack thereof. You should be heard from the 11th row at Wiggy. But things improved dramatically during the evening, which caused me to place the blame back on the Tracey Emins. Good on him for not forcing himself to sing over the racket. The second aria was already much better, when he employed some very stylish forays down the middle of his voice and all of a sudden someone on stage had personality. Fancy that.

He’s not the kind of singer who dazzles with endless coloratura (I understand this is the basis of the German Piano metaphor) but he can phrase with the best of them and has an imagination (and skills) to shape the sound, as thadieu would say. Which is why he should sing more of that Early Baroque, I think he has the right feel for it and for making it exciting.

In spite of all this, there were a couple of things from the others that I enjoyed – the metallic wrist-slashing chords from the viola da gamba during Gelido in ogni vena, the jazzy show starter from the double bass4 and the “wave” sound (during the Lorca song) that came out from the gut of the harpsi when Petrou stroked it. Wish the Vivaldijazz was further explored/incorporated and not in that L’aperggiata smooth jazz manner.

… it made for very lively conversation with Baroque Bird, Leander and friends at the interval and afterwards, though we didn’t all agree about everything.

as usual, sorry for any typos/errors, it’s been almost a week and I want to put it out there and my brain is a bit hazy edit-wise today.

  1. and it thus attracts tryhards by the boatload. BM fans tend to be even more humourless than those belcanto fans who think opera died when Callas lost her voice the first time. 
  2. “Just crank the gain, turn up the treble, scoop the mids, and bury the bass. “Metal” distortion pedals can also work well. The old bands did not give a f@ck about good tone.” (from here). 
  3. I don’t think I’ll ever forget that! He just walked away, like ok, aria done, let me get back to my crossword puzzle. 
  4. Yes to jazzy Vivaldi in general, though perhaps not so much to a syncopated tune in particular… but that’s personal taste for you. 

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.

Christian Gerhaher rides a white horse and causes a few damsels to joyously faint (Wigmore Hall, 15 July 2017)

Chatty mature lady: have you seen Gerhaher before?
dehggi: yes, but not in recital, only in Tannhauser.
Chatty mature lady: he was the only reason I went to see Tannhauser!
dehggi:

So it came to pass that I saw Gerhaher at Wiggy. I suppose had I hunted for returns I could’ve seen him earlier but for all my traipsing around I really am not the type to hang around for returns (or anything else). If they happen organically… you’ve heard me say that before. My current ticket was such an organic occasion – Baroque Bird couldn’t go and we had talked ahead of time that I would gladly take the ticket given those circumstances.

Johannes Brahms (1833-1897)

Die schöne Magelone Op. 33

Christian Gerhaher baritone
Gerold Huber piano
Ulrich Tukur actor

The beautiful Magelone is the story of a young knight who goes out on a maturity quest, which provides many occasions for exceptional feats of arms, proofs of great courage and wise choices for someone so young. Also, a seemingly endless opportunity to sing. His name is not Magelone – that’s the princess who falls madly in love with his jousting skills and singing chops. He is more modestly named Pierre. I’ve learned all this with the help of Tukur, who provided the (English) cliff notes to what happens in between the singing bits. Although he scared us all non German speakers when he did the introduction in German.

I’ve not seen a song cycle done this way before but it sure helps those on an erudition spectrum 😉 I saw on operaramblings that Soile Isokoski just had a recital with surtitles in Toronto, so perhaps this trend is catching. (Now that I dug a bit, here’s further proof of my sliding down the spectrum: this cycle seems habitually done this way; Goerne performed it the same way at Wiggy, 11 years ago!)

As you know I’m not the kind to spend a performance with my nose stuck in the programme (if it comes into my possession organically I will peruse it beforehand but unicorns are surprisingly rare at Wiggy). Surtitles = please bring them on. An actor reading it = even better, if all parties can afford the addition.

The story as read by Tukur proved hilarious. My fave part was this: a random nosy raven shows up just when our hero finds his three rings inside the locket of his conveniently asleep beloved – after he’d “eased off her dress”. Wait, what??? What kind of noble knight behviour is that? No wonder a raven showed up and flew away with the ring(s). Moral conundrums aside, our hero dashes off after the raven and, long story short, he falls into the Mediterranean, gets caught by moorish pirates and ends up sold into slavery to the Ottoman sultan (quite historically accurate, no?).

This is the type of story that ends well, so the two lovebirds find each other again – also by chance, after we understand that each of them has gained their gender required knowledge in the ways of the world (Magelone picks herself up, realises that he has not left of his own volition and waits for him whilst doing assorted au-pair duties for a farmer family in the Naples countyside – obviously back then even rich families didn’t enlist the help of local law enforcement to look for their missing damsels).

You might be wondering by now but dehggi, what happened to the raven? No? What about Gerhaher on his white horse? Oh, yes! He waited gamely for the cliff notes to unfold and then launched into Pierre’s mood-illustrating songs. Gotta love the Romantics, they were really confident in their genius. All these songs on a medieval theme sound absolutely nothing like one would imagine medieval music. No matter, though, because they are very fine indeed, and cover a wide range of moods. You can say that Pierre’s basic nature is jolly but, of course, what with loving and then losing (thanks for nothing, raven!), some somber tunes found their way within as well.

With this format there is inevitably a break in the mood, because reading a Romantic story in a 21st century English translation is one thing and singing Brahms in German is another. Sometimes I really wanted to find out what happened next and hear the music separately at a later time, Gerhaher or no Gerhaher. But his phrasing is really gorgeous and when he was singing I didn’t want us to go back to reading. I also really like his top (as well as his tie), as showcased by these songs. He’s the kind of singer whose fach affiliation you don’t have to question – he has the density and just enough weight – but who has heart flutter inducing notes up and down the range. So I gently fainted with the rest of the damsels (the hall was packed) and sighed behind my veil.

Véronique Gens’ quiet lightness of being (Wigmore Hall, 8 May 2017)

The see a French singer at least once a month programme has been going on since October. It’s true sometimes (February) it was quite a stretch but in my defense I only saw one show (shudder! gasp!) that month – and sometimes (April) the French singer was spotted more than once a month whereas in December I was in France and saw a bunch of them in one go. Vive la brioche!

On Monday I went to see Gens with 4 hours of broken sleep (thanks for nothing, kitties) at the ungodly hour of 1pm (part of BBC3’s Lunchtime Concert and you can hear it too). I didn’t droop, mostly because Mme Gens, in spite of her tall frame, has a voice light as a feather and it lifts you up.

I first heard her in La clemenza di Tito from Brussels (the one I call the reality TV Tito) where she towered over Boni’s Sesto. She managed to stick in my memory due to her unusual skill at making herself appear smaller (as if taking refuge within herself) when Vitellia realises things are going down the drain (act I finale). That skill was apparent here as well, though in a slightly different manner.

Véronique Gens soprano
Susan Manoff piano

Reynaldo Hahn (1874-1947)
Néère (from Études latines)
Trois jours de vendange

Henri Duparc (1848-1933)
Chanson triste
Romance de Mignon

Ernest Chausson (1855-1899)
Le charme Op. 2 No. 2
Les papillons Op. 2 No. 3
Hébé Op. 2 No. 6

Reynaldo Hahn
Quand je fus pris au pavillon (from Rondels)
Le rossignol des lilas
A Chloris

Ernest Chausson
La chanson bien douce Op. 34 No. 1
Le temps des lilas

Reynaldo Hahn
Lydé | Tyndaris | Pholoé | Phyllis (from Études latines)
Le printemps

In nice contrast to Mattila, who joked with the crowd and kissed her accompanist on both cheeks after each section, Gens’ stage presence makes me imagine her all by herself, reading a book in a quiet coffee shop. In between songs she’s perfectly self effacing and even looks a bit uncomfortable with having a roomful of people watch her. When the songs start she gets animated.

Which brings to mind the oddness of performing. You’re there in front of people, who are all busy gauging your every move (well, the ones who don’t have their eyes glued to the programme). Pretty odd situation for a private person, which she seems to be.

If you enjoy singers who have a feel for and a deft command of piano and pianissimo, Gens is for you. I’m not sure how she sounded at the back of the room because, unusually, I had a seat at the front of the hall, but she employed some of the most delicate turns of phrase I have heard so far.

The repertoire was of the airiest kind and gave Manoff the opportunity to spin an impishly playful web beneath Gens’ feather-light sound. Their communication was clear and – for me – surprinsingly balanced: Manoff leading with more than a tinge of humour and Gens flawlessly picking up the sound and transforming it into diaphanous droplets. She can hit forte when needed and luckily there is no ping to her voice but the most interesting moments are those disarmingly soft touches, when the ends of phrases are left floating.

Foggy backroads with Karita Mattila (Wigmore Hall, 6 May 2017)

The moment Mattila waltzed in, grand and self mocking at the same time, as Primadonna/Ariadne on the ROH stage a couple of years back I was in love. So I jumped at the opportunity of a night of listening to her alone. What I got was unexpected.

Karita Mattila soprano
Ville Matvejeff piano

Johannes Brahms (1833-1897)
Zigeunerlieder Op. 103
Richard Wagner (1813-1883)
Wesendonck Lieder
Alban Berg (1885-1935)
Vier Lieder Op. 2
Richard Strauss (1864-1949)
Der Stern Op. 69 No. 1
Wiegenlied Op. 41 No. 1
Meinem Kinde Op. 37 No. 3
Ach Lieb, ich muss nun scheiden Op. 21
Wie sollten wir geheim sie halten Op. 19 No. 4
Allerseelen Op. 10 No. 8
Cäcilie Op. 27 No. 2

The Zigeunerlieder were cracking, the kind of chutzpah that first attracted me to her but eventually the night turned into something very introspective, with Mattila mostly parked at the low end of her range. Her voice is plummy there but that part of her range doesn’t necessary have a lot of colour, neither does it have the sparkle I was chasing. But she sprinkled some sparkle later on and in the encores, which were her cabaret best – I wasn’t the only one to think so.

I love her natural charm, the direct, unfussy way she communicates, the way she can build a low brow joke even in an evening dress, with dangly earrings. I also like how she controls her hands and uses them a lot but makes it look necessary. Another thing I enjoy is watching singers between songs/when they aren’t singing. I like to catch the moment they get in character/change from one to the other. She’s very spontaneous, just slips in and sails with the mood.

It was a quite weird though sober mood that permeated the night, which sent my thoughts to some issues I’ve tried to avoid sort out for years. I must’ve felt very comfortable with her in the house to visit those ultra personal places. My mind sometimes wanders during performances but usually to more immediate matters. This was indeed the week of singing psychotherapy.

Handel’s Alceste with singing lobsters (Wigmore Hall, 29 March 2017)

Whoever advertised this performance struck gold: this was one of the best attended shows I’ve ever witnessed at Wigmore Hall. Though the Colossus of Rhodes or the Pharos was planted firmly in the seat in front of me I couldn’t find a convenient seat to upgrade to without bothering someone. But the Pharos1 was very polite and self aware and leaned to the left (Tower of Pisa, then) – we were on the end seats – so I could actually see 2/3 of the stage, which included the singers and the bassoonist (yes, there was a tenor-bassoon duet!).

Mary Bevan soprano
Benjamin Hulett tenor
James Platt bass
Christian Curnyn director | Early Opera Company (Choir included)

George Frideric Handel (1685-1759)
Concerto Grosso in G major
William Boyce (1711-1779)
Excerpts from Solomon

Interval

George Frideric Handel
Alceste HWV45

Alceste is incidental music with a lot of contribution from the choir and in my case it proved incidental to a good nap. For whatever reason, perhaps because it started with the concerto and because I wasn’t familiar with the Boyce piece, I was lulled into this cocooned state of semi consciouness.

When Hulett and Bevan duetted I had that thought one sometimes entertains of what would an alien make of this if s/he/it dropped in. A bunch of people intently watching two other people on stage make tuneful oooo, aaaa sounds with others coaxing a slightly different kind of sound from wooden boxes of various shapes and sizes. But to what end? the alien might soon zero in to the crux of the matter. And a good explaination, judging by the rapt faces, may be to lull the people in attendence. Nefarious or farious, that would remain to be determined after further investigation. Might the alien subject itself to this experiment?

I don’t necessary recommend pursuing this train of thought too diligently, as I ended up dozing and incorporating the stage action in said flights into delta state. Case in point, when Hulett recited along the lines of …and he rose from below! with the choir rising from below/behind the harpsichord2 to deliver a hearty Handel part, I also rose, and an image similar to this flashed through my mind:

a fine substitute for a singing lobster choir! (click for a funny blog post that has nothing whatsoever to do with opera)

I was convinced the action was taking place at the bottom of the sea. Of course. It must be The Enchanted Island effect. You might think I’m being unnecessary silly but shouldn’t we be truthful about the effects of music on us?

The singers were fine. I remember Hulett as the Oronte from that very fine Alcina from Moscow. His tone is good for Handel but as you well know by now, I like more colour in the voice. Bevan sounded to me particularly mezzo-ish here, perhaps due to the rather low lying parts of what she had to sing and also the way she attacked the acuti. Platt has been someone I look forward to hearing since his very entertaining stint as Caronte in the 2015 ROH Orfeo. Here he sang with gusto and that burnished bass tone as well, both as part of the choir (his biggest part) and as a soloist. The orchestra – Baroque bows aplenty, solid bassoon action and very fun trumpet interventions – sounded velvety.

A while ago a blogger who specialises in London trails liked my post about ‘giardiniera where I talk at some length about South Ken/how to get to RCM. I thought it might be a good idea to take some pictures for readers possibly unfamiliar with London, pictures illustrating how I get to Wiggy or St George’s etc. (you can click for biger views)

once you exit the tube at Oxford Circus, you can reach Wiggy walking up ahead Oxford Street or making a right on Regent Street and then first left.

I like to pass through Cavendish Sq going towards the red building in the background. Your destination is across the grand building on the left. I enjoy a pre-opera snack in front of that funky bath shop


  1. It was only after I noticed the handy (or bummy?) cushion that I remembered the Pharos had sat in front of me before, but at a show where I upgraded to the right). Wiggy is the kind of place where you do end up seeing familiar faces after a while. 
  2. It’s always fun to see 20+ people crammed on the Wiggy stage. I see with pleasure that this trend continues to be joyfully pursued. 

David Daniels the sponge (Wigmore Hall, 20 March 2017)

When Wiggy posted their upcoming season we (Team London) looked curiously at this date. He’s singing what? I wanted to see DD because I really like his Furibondo spira il vento tone so if he was singing Beethoven so be it.

It all started with Daniels apologising for obliterating his bowtie due to stage jitters. Perhaps if he waltzed in without mentioning it no one would’ve been the wiser (though what do I know, I’m all for casual chic and for moving swiftly on) but after that I’m sure we all focused on his collar. It was kinda cute.

David Daniels countertenor
Martin Katz piano

Ludwig van Beethoven (1770-1827)
Adelaide Op. 46

Henry Purcell (c.1659-1695)
Music for a while Z583
A Fool’s Preferment Z571
– I’ll sail upon the dog star
– Sweeter than roses Z585

Benjamin Britten (1913-1976)
Canticle II: Abraham and Isaac Op. 51

The first part was dominated by the Britten canticle, for which DD benefitted from help from tenor buddy David Webb. Their voices matched very well and they got into character enough to give the piece expressivity so that anyone could tell who was Abraham and who was Isaac. I liked it -> I should listen to more Britten.

INTERVAL

George Frideric Handel (1685-1759)
Rodelinda HWV19
– Pompe vane di morte!… Dove sei, amato bene?
– Si, l’infida consorte… Confusa si miri

Traditional
Ten Thousand Miles Away (arr. Steven Mark Kohn)
On the other shore (arr. Marita Kohler)
Wanderin’ (arr. Marita Kohler)
The Farmer’s Curst Wife (arr. Marita Kohler)

After the interval we were on familiar territory, with DD giving us a bit of his well known Bertarido. DD is the type of coutertenor with a very smooth voice and a youthful, sensitive tone (by which I mean plaintive but not schmalzy), which fits soulful arias better than vicious ones.

But we (Baroque Bird and I) agreed that the most memorable part was the traditional bit, with The Farmer’s Curst Wife coming off a riot. So yes (from me) to coutertenors singing art song and, in this case, traditional song. I’m quite fond of traditional in general and I wish more opera singers included it in their song recitals.

Maybe you’re wondering what I mean by the sponge metaphor. Whilst listening I kept imagining a gently squeezed sponge, which refers to elasticity and to smoothness across the range as well as softness of tone. It’s true that he’s the old school kind of countertenor – neither as fast nor as interested in proving chest note prowess (I don’t think he ventured that way) as the current crop – but the kind of elegant wistful emotion he can produce is still endearing and unique, to my ears at least. Even in the Baroque repertoire it’s not all about athleticism.

And, yes, it’s the end of the month hence the pedal to the metal with a flurry of posts after days of languidity.

The miraculously uplifting world of Patricia Petibon (Wigmore Hall, 18 March 2017)

If you ever got a chuckle reading this blog I urge you to drop whatever you’re doing and book a ticket to a Petibon recital. There’s nothing quite like it. You might come out of it and find the world brutal and monochrome but you will also have something surprisingly sturdy to hang on to when things do indeed get ugly.

I normally put up the setlist1 after the first couple of paragraphs but this time I can say what she sang was secondary. Not that I didn’t like the programme – on the contrary, I liked everything, because this was a Petibon takes over your senses kind of recital. Yes, everything, props (lots of them) and dresses included (her dress style is superb). This is a recital about which I would not change a thing – also because I don’t think my creativity is extensive enough for that task 😉

You should know that I’ve long harboured the opinion that she is the most beautiful woman in opera the world. It’s not about some fantastically perfect features (delicate bones + a large mouth can be hard to pull off), it’s the way everything is lit from within, and of course, the mischievous smile.

Part of the reason I insisted on booking a ticket to the recital was because I wanted to verify via those unsuspecting senses that there are indeed women who look like that in the 21st century. To me she doesn’t look like someone who uses Facebook and Uber (though burping and taking a poo are well within the realm of possibility). She looks like The Lady of the Lake or the French version of Bergman’s The Virgin Spring. Now that I have seen her rock a deep green cape I am convinced she should star as the seductive queen in the opera version of Guingamor (my secret opera project 😉 though perhaps it should only be a lyrical scene, because part II is roughly similar to Alcina).

You may think enough with this puppy eyed worshipfest of her looks, tell us about the singing, but what someone who hasn’t seen her live may need to know is that her body is integral to her singing. Since I’m still in the realm of web art, her stage persona reminds me of this classic gif:

  • it moves graciously (she never stops), it’s happy and zany and nobody can quite say what it is (it’s supposed to be a unicorn llama (of course) but to me it looks like the most cheerful progeny of a dinosaur and a giraffe). Also, it’s green.

This recital is the perfect example of what I was saying earlier about how European opera singers do it vs the American ones. Does Petibon have a good tecknique? Yes, she does, but we learn that within the space of the first few songs, after which she – nonverbally – said now that we’ve established that, let’s have some fun.

She also has a sizeable voice for her gossamer floated notes2 to project all the way to the back without ever dissipating en route, even when she sings piano (usually). This ability to float is my favourite technical trick of hers, also because it fits her onstage persona so well. When you see her so delicate and pink you do expect her to sing like that. But of course she doesn’t just do the angelic thing – if it is indeed angelic. I would say she’s far too sophisticated for that. It’s medieval lore rather (mists and distant battles) than Disney in spirit.

buddy looks suspiciously like my old boss…

Not that her persona cannot incorporate Disney 😀 and how! – irreverent Disney. We were treated to a complete scene of Snow White choking on the apple and then making out with her Prince garden gnome. For Busy Line she unwrapped a (very long) phone cord/washing line and proceeded to hang some clothes on it and had the audience help hold it.

I think what holds everything together is her palpable sense of line. It’s the fine art kind – if you’ve ever spent some time drawing you’ll immediately feel it. Some singers sing like instrumentalists and some singers paint with words. She draws with sound3, sometimes she even sculpts the music, with sharp curves and contrasts of weight and tint. It’s more 3D/physical than usual from a singer. Yet it’s almost always very soft and light, like an ink drawing or a cottonwool sculpture – at least in this programme. There were certain chord progressions and moods (the Iberian medieval and the kitsch parody) that reoccurred through the night, so one can imagine they are things she feels close to, at least at the moment.

She encored with a song (I didn’t know and she’s soft spoken) from the perspective of someone getting their life energy from a tree. I thought to myself how else could you finish whilst wearing a green corset? Then she thanked us for being alive with her tonight which promptly made me cry, though I’m not sure quite why other than it just fit the whole evening so well.

Points to Susan Manoff (piano) for being the buffer to that unique persona, she really held her own both musically (softness and contrast and general liveliness) and in personality (the sensible one).

Go see her/them, the world will appear a better place afterwards.


  1.  Samuel Barber (1910-1981) Sure on this Shining Night Op. 13 No. 3 | Benjamin Britten (1913-1976) Greensleeves | Nicolas Bacri (b.1961) “Melodías de la melancolía Op. 119b” A la mar | Manuel de Falla (1876-1946) “7 canciones populares españolas” El paño moruno | Joaquin Rodrigo (1901-1999) Canción del grumete | Fernando J Obradors (1897-1945) “El vito” Chiquitita la novia | Heitor Villa-Lobos (1887-1959) Nesta Rua | Frank Bridge (1879-1941)  Winter Pastoral H168 | Francis Poulenc (1899-1963) “Banalités” Sanglots | Henri Collet (1885-1951)  Seguidilla Op. 75 No. 2 | Murray Semos/Frank Stanton Busy Line | Francisco Paulo Mignone (1897-1986) Dona Janaina Interval Henri Collet “Los Amantes de Galicia” Camiña don Sancho | Enrique Granados (1867-1916) “12 Tonadillas en un estilo antiguo” El mirar de la maja | Joaquin Turina (1882-1949) “Poema en forma de canciones Op. 19” Cantares | Carlos Guastavino (1912-2000) La rosa y el sauce |  Agustín Lara (1897-1970)  Granada | Frank Churchill (1901-1942) Someday my prince will come (arr. Didier Lockwood) | Francis Poulenc Novelette sur un thème de Manuel de Falla | Norbert Glanzberg (1910-2001) Padam Padam (arr. Dimitri Naïditch) 
  2. Is this a French thing? Piau does her version of it as well. It’s gorgeous. 
  3. I think she has a fine art background? Maybe that’s where this comes from. 

The night Karina Gauvin sang just for me (Wigmore Hall, 28 January 2017)

Kidding 😉 but she looked so often in my direction I could’ve been fooled. I rather enjoyed the thought – who wouldn’t want Tornami a vagheggiar directed at them?!

Have you ever noticed how cheerful these Baroque-leaning singers are? Gauvin came out with the “crew” and sat down quietly for most of the first half. Well, aside from the times when she was singing, when the wink was on almost from the getgo.

All Handel programme

Karina Gauvin soprano

Le Concert de la Loge, director: Julien Chauvin violin

Giulio Cesare in Egitto HWV17
Overture
Da tempeste il legno infranto
Suite in F major ‘Water Music’ HWV348 (excerpts)
Rodelinda HWV19
Ombre, piante, urne funeste
Organ Concerto in B flat major Op. 4 No. 2 HWV290 (excerpts) something heavy on dueting oboes ❤ lots of fun, Mr and Ms Oboe and team
Solomon HWV67
Will the sun forget to streak
Lotario HWV26
Scherza in mar la navicella

The melisma fest that is Da tempeste is an excellent intro by my standards (more is more where coloratura is concerned) but although it fits Gauvin’s strongest bit of the range very well, I noticed some nerves and a bit of caution with volume (I actually though her voice was tiny but eventually she filled in). Also, whilst I’m noting the minuses, her voice is rather cloudy at the bottom end and support fails her on occasion. There’s also that bit about diction, what diction? However, her playful stage presence and the way she handles her strengths make for a very entertaining evening in her company. There are certain (not very high) notes at the top that are simply gorgeous and full.

I didn’t know Scherza in mar la navicella but it was the right choice to end the first half. By the end Gauvin was positively beaming with joy that I couldn’t supress a chuckle. The first time of the night where I made sure to lead the applause.

Never heard Le Concert de la Loge before (well, they just got together in 2015) but they was tight! Very nice job working together, though on occasion the string section had to catch up with Gauvin.

Interval

Alcina HWV34
Tornami a vagegghiar <- as misspelled by Wiggy 😉
Ah, mio cor, schernito sei
Suite in G major ‘Water Music’ HWV350 (excerpts) (not sure about the order of these bits as I wasn’t quite paying attention when the announcer said there had been some changes in the order and placement of the instrumentals (them instrumental bits!))
Concerto Grosso in G major
Rinaldo HWV7
Ah, crudel!
Furie terribili

Encore:
Mio caro bene Rodelinda
Lascia ch’io pianga Giulio Cesare Rinaldo

I hereby nominate this second half start of a recital as the best ever! You might remember I wrote a post in praise of Gauvin’s Tornami a while ago and last night I had the chance to hear it live 😀 This take was somewhat faster and less lyrical – a good tempo as far as I’m concerned.

As already shown in ‘navicella, Gauvin has a strong flirty side to her personality and rocked this favourite of mine (and of many) to levels where I wasn’t so unhappy when it ended as my pulse was racing. I wouldn’t mind keeling over to something like Tornami but not just yet 😉 give me another 2-3 decades and we’ll talk. It was my pleasure to lead the applause – I have now worked it out just when it’s ok to start clapping as soon as an aced aria ends (the cheerful ones, not the dirges where it’s respectful to give a few moments before the surge).

But that wasn’t all! The oboes, especially lead oboe, were fantastic (through the night) in this. I lucked out by sitting on the side of the winds1 so I heard the details even better than usual. The duet voice-oboe was buttah, playful, really on the beat, lovely communication, directly at fault for my palpitations. And what a sweet tone for those true cult oboes! Just superbe.

I can’t end before mentioning the smooth cellist with the funky crushed velvet trousers, slender hands and sexy dark curls (and Baroque bow). Ahem. You can see why I was hyperventilating between Gauvin’s kittenish charm, Mr Oboe and her. I’m sort of glad I couldn’t upgrade even closer to the stage. I was there for the music! (I swear).

Ah, mio cor was intense enough but I’ve already established that I think Gauvin is at her best when things are more lighthearted or downright foaming at the mouth. That would be Furie terribili! which she once again rocked. That’s another fine piece of Handel-writing. Some people would complain that he writes within a very cliched frame but, come on, how spot on is that fuming piece? You get the gist of it even if your Italian is 0. I saw a bit of that overly dramatic (to self parody heights) Vitellia of a couple of years ago in this. She turned around in her electric blue dress and pointed at the crowd. We were all shaking in our boots 😉 or giggling. Speaking of the dress, nice choice of colour for her and also shoulders. And that just fucked hairstyle suits her.

When she returned for the encores she jauntily said she wouldn’t want to leave us on quite that note (people laughed and I shouted that note was very fine, thank you very much. You shouted?! you might ask, but yes, the atmosphere was the relaxed one Baroque singers usually exude and that loosens yours truly’s tongue to alarming levels). We got the soft and playful (there are soft moments in Rodelinda?! Who knew!) and Lascio, which isn’t a favourite but I already got a good chunk of those and she did it lovely.

All in all, an excellent evening in all kinds of ways. I almost went backstage to tell Gauvin and the cellist that I was accepting marriage proposals 😉


  1. shoutout to Baroque Bird who hooked me up with a ticket at the right edge of row W from where I shot up to row I (right aisle) when the lights dimmed 😀 Edge of the row tickets are obviously the way to go when you want the option of upgrading. I thought about upgrading to centre aisle but the best thing about aisle edge seats is direct line of view (no heads! The singer can look into your eyes 😉 ).