BBC Cardiff Singer of the World 2007, Main Prize Concert 1: Orchestra of Welsh National Opera conducted by Carlo Rizzi St David’s Hall, 7.30pm, 10.6.2007 (ED)

For each round of both competitions, Evan Dickerson offers his impressions of the competitors, their repertoire and the buzz from the audience. Here is his report on the first concert in the Main Prize competition.

KOREA: Sae Kyung Rim Soprano Born 1975

Catalani: Ebben? Ne andrò lontana (La Wally)

Sae Kyung Rim walked on to the stage at St David’s Hall with little fuss and started the competition with a fair amount of style. It took the opening passages for her to scale the voice appropriately to the size of the hall, but once done she displayed more than competent phrasing along with the ability to launch soaring high notes at volume relatively easily. The aria’s ending was noteworthy for its spirited attack and gutsy tone.

Verdi: Ritorna vincitor! (Aida)

Attacked the opening with some passion, and the quieter passages were shaded down well to convey emotion. When in full flow Sae Kyung Rim produced impressive fortissimo notes that showed a sense of flair. 

Puccini: Principessa, l'amore...Tu che di gel sei cinta (Turandot)

Coped well with changing the placing and size of her voice from the large scale needed for Aida to the more intimate needed for Liu in Turandot.  Started to express some emotion in her face and relaxed towards the end to give a performance that drew the audience in.

General comments about singer

Moments of brief uncertainty were overcome, although taken as a whole the La Wally aria was the most convincing interpretation.

BRAZIL: Luciano Botelho Tenor Born 1975

Mozart: Dies Bildnis ist bezaubernd schön (Die Zauberflöte)

A slender-scaled tenor voice that was used with feeling to project Tamino’s  feelings of love for Tamina. Clearly a stylish singer with an awareness of Mozartian line. Brought delicate shading to the piano passages of the aria.

Lalo : Puisqu'on ne peut...Vainement, ma bien-aimée (Le Roi d'Ys)

An ideal voice for this serenade of ardour, sung with lightness and precisely floated lines. French diction was good. Overall, the tempo taken was faster than that normally used for the aria and he  coped well with maintaining it.

Verdi: Dal labbro il canto (Falstaff)

Fenton’s woodland aria was sung with bags of atmosphere and romance. Careful shaping of the aria’s line made one wonder why, still, Falstaff remains so (relatively) under-acknowleged as an opera.

Rossini: Si, ritrovarla io giuro (La Cenerentola)

The aria explored the high head voice extensively, which he clearly has the ability to produce, if on this occasion the top notes were not quite totally secure – affected no doubt by the need for the tone to be supported more. Coloured well in the lower vocal range.

General comments about singer

There is a range of repertoire for his voice, so there is future employment once he has all the elements of vocal production securely in place.

CROATIA: Ante Jerkunica Bass Born 1978

Verdi: A te l'estremo addio...Il lacerato spirito (Simon Boccanegra)

In short, he walked on stage and wowed us with a rich, resonant bass that proved rock solid at the lower end of his range. Had the ability to enter into the heart of the part at the drop of a hat. Really filled the auditorium with a tangible presence.

Massenet: Dors, ò cité perverse!...Astres étincelants (Hérodiade)

Another aria that played to his strengths of commanding attention from the audience, as the majority of bass roles are wont to require. Brought more than a fair share of malevolence to it. Occasionally higher notes were a bit pinched: had he raised his chin slightly and sung out to the rear of the hall instead of the front stalls there would have been no problem.

Verdi: Che mai vegg'io...Infelice!...e tuo credevi...Infin che un brando vindice (Ernani)

Communicated Silva’s shock at finding intruders to Elvira’s quarters with ease. As vocally strong as the rest.

General comments about singer

A singer one could cast tomorrow and know what he would produce, his voice is clearly established. Apart from the point noted above, he was the most impressive singer so far.


ENGLAND: Elizabeth Watts Soprano Born 1979

Massenet: Je suis encore tout étourdie (Manon)

Well integrated vocally, coping decently with the florid ornamentation. The voice itself lacked scale to completely fill the hall.

Mozart: Giunse alfin il momento...Deh vieni, non tardar (Le nozze di Figaro)

Projection again was a slight issue at times, although Elizabeth did well to shade down and maintain the integrity of her already slight tone. A good Mozart stylist.

Handel: Credete al mio dolore (Alcina)

This high-lying aria caused a few problems, notably in terms of intonation at the very top of her range. The tone could have done with a touch more support, but it was daring of her to choose an aria so reliant on fine piano singing as this. Fortunately, the accompaniment of harpsichord and cellos did not cause the delicate vocals to be swamped.

Szymanowski: Taniec (Songs of a Fairytale Princess Op 31 No 3)

An unusual choice that at least varied the repertoire to some extent, but to what effect? (Many wondered this, not just me.) To Szymanowki’s orientally infused colourings she brought much upbeat enthusiasm. I’d like to hear her perform the cycle some time.

General comments about singer

Slight toned, but uses the entire range well.  Needs to avoid large-scale repertoire in big halls. She has charm and sings with affection. Clearly won many friends with her programme.

HUNGARY: Levente Molnár Baritone Born 1983

Rossini: Largo al factotum (Il barbiere di Siviglia)

A confident actor who knew how to play the audience and engage their attention. Looked casual on stage in terms of posture and perhaps over-used gesture too. Vocally though he projected well much of the character and brought a lot of fun to the old claptrap, which the audience duly fell into.

Mozart: Hai già vinta la causa!...Vedrò mentr'io sospiro (Le nozze di Figaro), Donne mie, le fate a tanti (Così fan tutte)

Taking these two arias together, there was little to distinguish them in terms of tone or approach. Sung rather suavely with a clarity of approach they had momentary interest.

Verdi: È sogno? O realtà (Falstaff)

A strong conclusion, and in one of Verdi’s best baritone roles too. Good characterization and general sureness of tone, ability to point the text as he wanted – all were in evidence.

General comments about singer

I’d have taken one of the Mozarts and replaced it with something by another composer to show a greater range as a singer. That said, he was entertaining and no doubt has a future.

The Buzz from the Audience

There was a wide spread of opinion as to who should win: Brazil, Croatia (my personal favourite), England and Hungary all impressed for different reasons. Having canvassed a range of opinion from all ages (a couple of teenage girls proved remarkably perceptive, showing that serious music can engage younger minds), agreed that it was a difficult decision with no clear-cut winner.

The Judges’ Decision

Elizabeth Watts was declared the evening’s winner, much to the delight of her supporters including a large Royal College of Music contingent. For the unity of her voice throughout its range and its ability to affect an audience I can understand the decision. Will she get to the final? Possibly not – from this concert Ante Jerkunica, the Croatian bass, surely deserves serious consideration when the time comes.

Evan Dickerson

This concert will be televised on BBC FOUR this evening (12th June) from 7.30 - 9pm. Presenter: Petroc Trelawney

The Main Prize Final will be broadcast on BBC TWO on Sunday 17th June from 5.30 pm - 8pm Presenters: Sian Williams, Aled Jones.