So back to Walter Hall at 4pm for the last of the Regen concerts featuring song. This time Renee Fajardo and Jinhee Park kicked things off with a very fine set starting with Herr Schumann’s sinister Die Soldat and Frau Schumann’s Die Lorelei. This was all smoothly and elegantly sung bar a slight tendency to push high notes. There was some very impressive pianism here too. The set concluded with Schoenberg’s Galathea; a bold and interesting choice, where Renee managed to create an almost cabaret timbre without ever sacrificing accuracy. Nicely done!
The last two ReGENERATION concerts featuring song took place in Walter Hall yesterday at 1pm and 4pm. Both featured four singers doing a set with piano, a vocal piece with chamber accompaniment and a chamber piece. All the members of the Artsong Academy programme appeared at least once. First up was tenor Joey Jang with Frances Armstrong at the piano with a set of Schubert and Schumann. He sounded OK, if a bit underpowered, in Liebesbotschaft with its fairly fast rhythmic lines but technical issues showed up in the slower pieces requiring real legato.
So it was back to Walter Hall at 7.30pm for Saturday’s second instalment. This time the programme kicked off with the Schumann Piano Quartet in E flat Major Op. 47 before the singers. The first singer up was mezzo Danielle Vaillancourt with pianist Jing Lee Park. They gave us just two songs. The first was Fauré’s Il pleure dans mon coeur followed by Duparc’s Au pays où se fait la guerre. Vaillancourt has excellent French diction, a really interesting timbre and plenty of power. This was pretty fine singing. Jing Lee Park made the most of her chance to shine in the rather lovely piano part in the Duparc. Continue reading →
TSMF has made some small changes to the line up this year. Instead of the art song component recitals for the academy programme being given together as two concerts they have been spread across four concerts with the balance being made up of chamber music. The first two of the four were yesterday in Walter Hall.
There was no printed programme for the concerts. The singers announced themselves and their accompanists and their material. The last was repeated in the projected surtitles (yeah!) which also provided text and translation for the non-English items (including Scots) but not for songs to English texts. So, mad scribbling was required to get a complete listing and I may have made the odd error.
My acquaintance with Korngold’s Die tote Stadt has been pretty much limited to recital and competition performances of Glück, das mir verlieb, better known as Marietta’s Lied and, apparently, the last opera aria to become a hit single and Fritz’ act 2 piece Mein Sehnen, mein Wähnen. So, I was quite glad to get my hands on a complete recording of this lushly lyrical and rather weird piece. The “dead city” of the title is Brugge and the story concerns a wealthy man, Paul, who has turned his house, and his life, into a shrine to his dead wife Marie. He encounters a dancer, Marietta, who very closely resembles his late wife. What follows is wild and chaotic and is, ultimately, revealed to be a dream. Paul realises that only in the next world can he be reunited with Marie.