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.
George Frideric Handel (1685-1759)
– Pompe vane di morte!… Dove sei, amato bene?
– Si, l’infida consorte… Confusa si miri
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.
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.
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.
- 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) ↩
- Is this a French thing? Piau does her version of it as well. It’s gorgeous. ↩
- I think she has a fine art background? Maybe that’s where this comes from. ↩