It’s not often that one attends a recital that is so stunning that one struggles to find words to describe it but The Golden Age recital given by soprano Erin Morley, tenor Lawrence Brownlee and pianist Malcolm Martineau at a packed Koerner Hall on Thursday evening, as part of Toronto Summer Music, was in that class. Most of the rep was drawn from the Golden Age album released last year with a few change ups. It’s basically all highly virtuosic material in the bel canto style (plus a couple of piano pieces).

They began with a duet, and most of the evening’s highlights were when they sang together. It was “Ce téméraire qui croit nous plaire” from Rossini’s Le Comte Ory. The combination of utterly clean high notes, Morley’s exquisite coloratura and a real sense of fun in this very silly aria was infectious. Morley singing “Caro nome” followed. More pinpoint coloratura and not the slightest sense of strain in the pyrotechnics. A faultless performance. And, unsurprisingly Martineau was an accomplished and sympathetic partner.

Next up was Brownlee with “Je crois entendre encore” from Bizet’s Les pêcheurs de perles. It’s a dramatic aria and it was sung with no sense of strain at any point through the registers and an impressive legato; a lovely mix of drama and lyricism. Martineau got to do his party piece next with a very polished version of Debussy’s “Clair de lune”. And to close the first half another duet combining drama, lyricism and chemistry; the very beautiful “C’est le dieu de la jeunesse” from Lakmé.

The second half started with a rarity; the duet “Ils verront si je mens!” from Bizet’s Le Jolie fille de Perth. Definitely the dramatic end of the spectrum here with some especially fine vocal acting from Morley and, once again, great technical skill from both singers. It’s definitely made me want to find out more about this Walter Scott based opera. Then a bit of fun to follow; a four hands arrangement of the “Chanson Bohème” from Carmen showing that Morley is no slouch at the keyboard on top of her other qualities.

“Parmi veder le lagrime” from Rigoletto isn’t on the CD but was given as an example of where Brownlee’s career is headed at age fifty three! He can do the Duke and if the voice maybe now sounds a little mature for, say, Almaviva the high notes are still intact. Then came what was surely the evening’s highlight; Morley singing “Où va la jeune Indoue” from Lakmé. This was a scarcely believable display of technical virtuosity wed to incredible lyricism. There’s some very complex vocaslise at the beginning and really tough coloratura throughout so to make it sound ethereally beautiful rather than just technical fireworks was extraordinary. Also, I know Lakmé is politically incorrect in so many ways but it has some gorgeous music ands it would be nice to see it done more often.

The last number on the programme was the rather silly “De cet aveu si tendre” from Donizetti’s La fille du Règiment which was every bit as playful and excellent as the first duet of the evening. And that could also be said of the encore “Tornami a dir che m’ami” from Donizetti’s Don Pasquale. All up, one of the best recitals I’ve ever attended.

Photos: Lucky Tang