BBC Cardiff Singer of the World 2007, Song Prize Recital 2:  New Theatre, Cardiff 2.00pm 10.6.2007 (ED)

For each round of both competitions, Evan Dickerson offers his impressions of the competitors and their repertoire. Here is his report on the second recital in the Song Prize competition.

NETHERLANDS: Wiard Witholt Baritone Born 1978

Accompanist: Phillip Thomas

Schubert: Der Musensohn (Op 92 No 1)

Wiard Witholt cuts a distinctive, slender figure on stage. At first his stage manner was rather stiff, but he soon relaxed. When he did so his voice changed in quality from nasal to comparatively full in tone, able to cope well with Schubert’s demands in projecting a flexible line.

Samuel de Lange: Herbstgefühl and Komm jetzt (Songs, Op 94 Nos.1 & 2)

Across the two de Lange songs, support of the vocal tone was an issue momentarily in both the high and low registers, but long legato lines were sustained well with evenness of tone, showing a good breathing technique was at work.

Duparc: Chanson triste, L'Invitation au voyage

Control and shaping of Duparc’s often-exposed vocal lines is always a major concern for singers. Witholt coped well, sustaining his focus particularly well in Chanson triste. L’invitation au voyage sounded by comparison a touch lifeless, needing a touch more ardour to lift the narrative to another level of significance.

General comments about the performer

Interesting: on stage he lacked something – maybe the nerves of singing first – but he can focus and sustain the voice well, though. How he’ll fare with an orchestra is another matter, based on this performance.

GERMANY: Evelina Dobraceva Soprano Born 1975

Accompanist: Llŷr Williams

Mozart: Abendempfindung (K523)

A tentative opening from Evelina Dobraceva showed her care in the placing of the voice to obtain an intimately scaled interpretation. Perhaps with a little more impetus coming from the accompaniment, although stylishly played, she would have found a little more bloom in the tone.

R Strauss: Ständchen (6 Songs, Op 17 No 2)

The Strauss song showed the richness of her lower register to good effect. Where the voice is floated though perhaps more preparation would have produced a slightly cleaner result.  Despite that, Evelina Dobraceva has potential to grow fully into the Straussian repertoire.

Schoenberg: Waldsonne

Dobraceva did well to remind us of Schoenberg’s late romantic song output. She succeeded in creating appropriate atmosphere and together with Williams’ accompaniment created delightful nocturnal spaces.

Rakhmaninov: Son (Songs, Op 38 No 5),  "A-Oo" (Songs, Op 38)

The restraint exhibited at the start of Son gave way to a level of exuberance not displayed hitherto by Dobraceva. This continued in A-Oo, with Rakhmaninov clearly being a key part of her repertoire.

General comments about the performer

A slightly insecure start, but a strong ending. Strauss and Schoenberg have the potential to fare well with her, once full vocal control and scale are secured. Delightful summer afternoon dress, too – white with red flowers – showing care in presentation.

ESTONIA: Juhan Tralla Tenor Born 1974

Accompanist: Simon Lepper

Schubert:  Ganymed (Songs, Op 19 No 3)

Schumann: Widmung (Myrthen, Op 25 No 1)

A mobile singer on stage, Juhan Tralla has the habit of pacing about a bit. Good in the sense that it stops the singer becoming rigid, therefore affecting the tone, but some in the audience might be distracted by too much movement. It’s a fine line to tread (pun unintended). Generally, the two songs contrasted well in terms of mood. Tralla showed some sensitivity in phrasing, and in the Schumann especially maintained a well-controlled flow to the vocal line.

Mart Saar: Vaikus, Must Lind

Contrast also marked the two Mart Saar songs, the first allowing glimpses of a rich lower register at leisure, whilst the second picked up the tempo to allow for punchy accents to register with emphatic vigour.

Tchaikovsky: V etu lunnuju noch' (Songs, Op 73 No 3)

With his slightly nasal tone (rumour has it that Juhan Tralla has also been suffering from a throat infection in recent days which could affect his vocal quality), he nonetheless brought out a convincing interpretation of the text, centred on a poet’s night time farewell to his lover.

Rakhmaninov: Zdes' khorosho (12 Songs, Op 21 No 7), Ne ver', moy drug (Songs, Op 14 No 7)

Very much continuing the heart on sleeve emotions of the Russian school, Juhan Tralla produced two well articulated, forwardly projected and emphatic readings of these Rakhmaninov songs. His song writing is being well explored by this year’s singers.

General comments about the performer

More interesting for me in his native Estonian and the Russian repertoire.

AUSTRALIA: Miranda Keys Soprano Born 1974

Accompanist: Phillip Thomas

Mendelssohn: Neue Liebe (Songs, Op 19 No 4), Hexenlied (Songs, Op 8 No 8)

The relatively large scale of Miranda Keys’ voice was immediately apparent; well-integrated vocal quality throughout the range, displaying varied colours as the mood of the music demanded. Good stage confidence also.

Barber: St Ita's Vision (The Hermit Songs, Op 29 No 3), Sure on this Shining Night (Songs, Op 13 No 3)

The Vision showed stature and elements of reflection in secure narrative that was well projected.  If the shine on Barber’s second song was slightly lacking, perhaps a little more care in the exact placing of notes would have restored it.

Rangstrøm: Pan (Five Ballades, No 3) Sibelius: Flickan kom ifrån sin älsklings möte (Songs, Op 37 No 5)

Both songs displayed good technical support, awareness of tone that allowed confidence to come through again in her singing.

Walton: Old Sir Faulk

Although much was attempted in terms of facial interpretation, the words were slightly lost and musically the performance was a touch wayward. But her beaming smile and outward enthusiasm showed that the song must go on. Commendable.

General comments about the performer

A strong contender with good variety in her repertoire.

CHINA : Yang Shen Bass baritone Born 1984

Accompanist: Llŷr Williams

Pfitzner: Hast du von den Fischerkindern (Songs, Op 7 No 1)

How good to have a Pfitzner song on the programme  - they are so under-rated. This fisher was somewhat caught in the gravelly undertow of Shen’s tone at times.

Wolf: Der Feuerreiter (Mörike-Lieder)

A fast and furious reading of Wolf’s song showed tonal variety, and a slight tendency towards overemphasis. However, for all that sound and put on fury, the troubled depths of Schubert’s song were left largely undisturbed. It needs a lot of work to get beneath the surface of this one.

He Luting: On the Jialing River

Imbued with from the heart strength, Shen gave a brief highlight of Chinese song – an area that has still largely to become known in the West. Its time will come no doubt.

Schubert: Prometheus (D674)
A strong finish was had in Schubert’s Prometheus. Singing of sustained power and intensity was to be heard.

General comments about the performer

Impressive in his native repertoire, but clearly has work to do in other areas.

 

Evan Dickerson

BBC Radio Song Prize Broadcasts

Recitals 1-4 will be broadcast on BBC Radio 3 from Tuesday 12-Friday 15 June between 1pm and 2.30pm. Radio 3 will also  broadcast The Song Prize Final on Saturday 16th June.  Presenter: Fiona Talkington with guest Catherine Bott.

Details of BBC Radio Wales / Radio Cymru broadcasts are Here