Deutsche Grammophon has just re-released the recital by Bryn Terfel and Llyr Williams that was recorded live at the Verbier Festival in 2011. It’s a generous package. It kicks off with a couple of exquisitely sung Schubert songs which are followed by Schumann’s Liederkreis Op.39. This is gorgeous lieder singing with the voice sounding very fresh, the diction spot on and lovely accompaniment.
After the interval there’s Ibert’s Chansons de Don Quichotte and Quilter’s Three Shakespeare Songs. These too are beautifully done. Then it’s on to the lighter stuff that Bryn always seems to throw in on these occasions and which does help making listening to the recording seem more like being at a live concert. Among other things there’s a lovely Ar Hyd y Nos and The Green Eyed Dragon. You have to admire a singer who can manage four languages with such clarity and feeling and still be personable and funny.
Almost six years to the day since his last appearance Bryn, now Sir Bryn, Terfel made it back to Koerner hall for a much anticipated recital; this time accompanied by Annabel Thwaite. The first set, partly setting up a Shakespeare theme for the evening, consisted of four songs by Schubert including “Trinklied” and “An Silvia”. It was followed by three of the the Quilter Shakespeare settings; “Come Away, Come Away, Death”, “O Mistress Mine” and “Blow, Blow Thou Winter Wind”. The first half concluded with the Vier ernste Gesänge of Brahms. I think it’s fair to say that what we were hearing was not the Bryn that his considerable following in the hall expected. The artistry of interpretation was still there but something was up with the voice. It didn’t have the bloom I remembered and in places, especially with high notes, it just wasn’t happening. Was he a bit under the weather or was it the toll of the years and lots of Wagner? I don’t know but I really hope it was the former.
It’s that time of year when it’s traditional to do best of the year lists. Fortunately this is all about music because in most other respects 2016 was a bit of a horror show. So here goes. As far as opera proper was concerned it was a pretty good year. There were no real howlers in the COC’s season. It was solid and, at its best, better than that, For me, Ariodante was the standout; an intelligent, thought provoking production backed up by extremely good acting and singing. I was really expecting to like the Claus Guth Marriage of Figaro more than I did. I enjoyed it but I was a bit perplexed by the lightening up that had taken place since Salzburg in 2006. Opera Atelier had their best show in quite a while with Lucio Silla but even Wallis Giunta couldn’t save a misconceived Dido and Aeneas.
It was my first time seeing Welsh bass-baritone Bryn Terfel live and my expectations were high. They were met, possibly exceeded, but not perhaps in the way I expected.The singing was brilliant across a wide spectrum of moods and genres (I’ll come back to that) but what really stood out was the man’s rapport with the audience which was extraordinary. It’s really hard to describe but let me try with just one example. It’s that thorny issue of people applauding for ages in the middle of sets. The usual approach is to have some functionary come out and announce that “Herr Poffel-Woffel respectfully (huh) asks that the audience not applaud until the end of the set because he believes it spoils the atmosphere”. Bryn’s approach was to wait for the first time it happened, gently shh the audience and announce “I don’t mind at all if you applaud every song but we’ll all get a home a lot earlier if you wait until the end of the set”. There was a lot of that kind of thing and it seemed quite natural and not at all stagey.
I usually only review CDs on first release but I came across one on the weekend that I need to rave about. I guess it’s not exactly a secret that I’m a huge fan of early 20th English art song. So, when I found a CD with most of favourites sung by one of my all time favourites it was pretty much bound to be a hit. It’s a 20 year old recording by Bryn Terfel and Martin Martineau and it’s called The Vagabond and other songs. The disc includes Vaughan Williams Songs of Travel, Finzi’s Let Us Garlands Bring, both of Butterworth’s Housman cycles and three settings of John Masefield texts by John Ireland. The young Bryn’s voice is a touch lighter than today but it’s still a brooding dark thing though with delicacy enough for, say, Is my team ploughing? Martineau is a most skilled accompanist and the recording, made in Henry Wood Hall, is very good indeed. I can see this getting played a lot!
The recording of Richard Strauss’ Die Frau ohne Schatten made at the Salzburg Festival in 1992 is very much Sir Georg Solti’s show. The conducting is superb and the Vienna Philharmonic, of course, respond for Solti. From the opening, shattering cords through the various orchestral interludes to the final ensemble and chorus Solti is utterly convincing in his command of tempi and dynamics.
The Royal Conservatory has now announced the 2015/16 season. The full details plus how to subscribe, buy tickets etc is here. It’s the usual rich mix of music in a wide range of genres. Here are the things I will be looking out for:
April 24th 2016 in Koerner Hall at 3pm there’s a recital by Bryn Terfel with Natalia Katyukova. This is definitely the big name vocal gig of the season.
The Royal Opera House production of Wagner’s Der fliegende Holländer finally made it to Toronto yesterday with a showing of the film at the Bloor Hot Docs Cinema. There areva couple of Toronto connections. The production was created by Tim Albery, although Daniel Dooner directs this revival, and the Senta is sung by Adrianne Pieczonka who was present with her family and introduced the film. The Dutchman, of course, is played by hulking Welshman Bryn Terfel who wasn’t there. He was probably crying into his beer somewhere at Wales coming up short in the Six Nations. Continue reading →
Royal Opera House cinema screenings are back at the Bloor Cinema and it seems that the full season will be available. ENO are you watching or is your sense of Ontario gepography akin to your business acumen?
First up, tomorrow, at noon they’re screening Giordano’s Andrea Chenier directed by David McVicar with Jonas Kaufmann and Eva-Maria Westbroek.
March 22nd sees Tim Albery’s production of Wagner’s Der fliegende Holländer with Adrienne Pieczonka and Bryn Terfel. Ms. Pieczonka will be on hand to introduce the piece.
On June 28th we get a new John Fulljames production of Weill’s Rise and Fall of the City of Mahagonny with Anne Sofie von Otter.
July 26th sees John Copley’s venerable production of Puccini’s La Bohème. This production is almost as old as I am. Anna Netrebko and Joseph Calleja play Mimi and Rodolfo.
Finally, on August 30th we can see a new production of Rossini’s Guillaume Tell directed by Damiano Michieletto with Antonio Pappano conducting. The cast includes Gerry Finley and Malin Bystrom.