An edited version of the following review is uploaded on my webpage at http://www.seenandheard-international.com/tag/jiten-s-merchant/
Mahler Chamber Soloists: Henja Semmler (violin), Christian Heubes (violin), Anna Puig Torné (viola), Delphine Tissot (viola), Antoaneta Emanuilova (cello), Olivier Patey (clarinet).
Presented by the Indian Council for Cultural Relations (ICCR), Tata Theatre, National Centre for the Performing Arts (NCPA), Mumbai, India. 24.01.2012
Good things can come in small packages; and this was made evident at the concert by the Mahler Chamber Soloists, a group of six players from the Mahler Chamber Orchestra, in Mumbai. Presented as part of the celebrations honouring 60 years of friendship between Germany and India, it was certainly a success, though one that was somewhat qualified.
The major hurdle in making this a special evening was the audience. Typical of these sponsors, there was a large number of Indian and European government and corporate types among the invitees, which probably explained the bursts of applause after each movement, clicking of cameras, loud coughing and constant traffic of latecomers and premature departees….but mercifully only one interruption from a cell-phone. The genuine music-lovers and regular concert-goers among those present must surely have wondered what kind of impression this audience had made on the hapless musicians; and wished the organisers had included a handbook of concert-etiquette with the brochure.
Even so, the players coped valiantly. Opening with Dvorak’s Terzetto in C Major, they displayed impeccable co-ordination and fine contrast between the cantabile and marcato passages, though the syncopations in the Furiant could have had more rhythmic bounce.
Mozart’s String (Viola) Quintet in G minor followed; and from the start it was apparent this performance was going to be different. The opening Allegro was taken at a clip, establishing a nervous, febrile energy, with sharply angular dynamics and agogic pauses, though the stabbing chords in the following Menuetto could have been made more emphatic. The Adagio was also a shade too fast, lacking gravitas; and it was only in the last movement that the performance struck the right note of grief (especially in Henja Semmler’s soaring violin solos underpinned by pizzicati from the cello) for this was written by Mozart when his father was dying. It has been suggested that the work’s ending, a jaunty Allegro, represented his freedom from paternal tyranny; and here it was appropriately tentative, halting and (again) nervous, bringing us full-circle to the opening.
Brahms’ Clarinet Quintet, after the interval, was undoubtedly the concert’s main event. Its opening promised sylvan shades and autumnal mood….shattered alas in the very first forte passage, the clarinet’s tone hardening acerbically under pressure, exacerbated by the “shouting” quartet. However, clarinettist Olivier Patey’s soft playing thereafter was exquisite, leading up to an ending that was magically hushed. This promise of lyricism was amply fulfilled by the players in the ensuing Adagio; and its rhapsodic “aria” for clarinet was rendered passionately by Mr. Patey, with ravishing pianissimi. The following Andantino was lively, while the last movement’s contrasts were well-realised (for instance, in the clarinet’s flawless legato during its arching phrases, backed by the rhythmic accents of the quartet) with a sombre and very moving end.
Fresh from their concert in Goa, the Soloists offered a charming encore, a medley of Goan folk-songs arranged specially for their ensemble. It proved, unequivocally, that Indo-German collaboration is indeed a happy marriage.
Monday, January 30, 2012
Friday, January 13, 2012
3 Divas in Bombay!
I am now an accredited reviewer at Seen and Heard International, the live-performance wing of Music Web International, one of the oldest, largest and most-visited online purveyors of musical criticism.
My first review for them was of a concert featuring three sopranos, including the Mumbai-born but UK-based Patricia Rozario.
Since this was extensively edited on the website (sometimes, I admit, for the better!) here is my original piece:
Three of a Kind!
Operatic arias by Patricia Rozario (soprano), Susanna Hurrell (soprano) and Joanne D’Mello (soprano).
Tata Theatre, National Centre for the Performing Arts (NCPA), Mumbai, India.
9 January 2012.
There are sopranos and sopranos….and this concert at the Tata Theatre in the National Centre for the Performing Arts, Mumbai, showcased three species in the genus.
All three shared a basically lyric fach and timbre, with one offering a shade of spinto; another, the bright tone of a coloratura. Occupying a solid, quintessentially lyric middle-ground between the two was their teacher and mentor, Patricia Rozario. Recently honoured with an OBE, Ms Rozario taught Susanna Hurrell at the Royal College of Music’s International Opera School; and her own compatriot, Joanne D’Mello from Goa, also at the RCM. Both students joined their teacher in this programme of mostly familiar operatic arias and duets (and a few folk-songs).
However, the very first item on the programme was decidedly unfamiliar, Brilla nell’ alma from Handel’s “Alessandro”. Ms Hurrell launched into it con brio but lacking the laser-sharp focus of the true coloratura; and with some approximation in the florid passages. These traits, along with a few lapses in intonation and little evidence of a proper trill, were also seen in two of the latter pieces, the valse from Gounod’s “Romeo et Juliette” and Adele’s Laughing Song from “Die Fledermaus”; but Ms Hurrell saved the day with her confidence above the stave. And really came into her own during Manon’s Adieu, notre petite table, which was performed complete with the preceeding recitative, the singer throwing herself convincingly into Manon’s predicament, fully conveying her conflict on leaving her lover for the high-life.
Joanne D’Mello has the makings of a fine lirico-spinto, though at the moment her voice seems still somewhat unformed. It is relatively small, with almost the timbre of a lyric mezzo in the lower register; but free, ringing top notes. However, there is sometimes a noticeable beat in the voice, which is a little worrying to hear at such an early stage in her career. She is amazingly responsive to changes in colour, differentiating clearly not only between operatic characters but also contrasting portions within the same aria. This was made evident in Cleopatra’s lament from Handel’s “Giulio Cesare” (though she lacked the requisite heft) while her rendition of Euridice’s Che fiero momento showed great sensitivity to emotion and meaning of words. Her Musetta was coquettish and playful but Despina less convincing; and she managed the mezzo parts of Dorabella and Mallika, in the duets respectively from “Cosi fan tutte” and “Lakme”, with aplomb, both partnered by Ms Hurrell.
She was also a charming Susanna in the duet Canzonetta sull’ aria from “Le Nozze di Figaro” in which she was joined by Patricia Rozario as the Contessa. From the start, it was evident that something was terribly wrong and Ms Rozario seemed to be having an off day (courtesy the Mumbai smog?) for this was not the Patricia we have come to know and love! Her legato, always the pride and joy of her vocalism, was heavy and effortful here; and also in the subsequent arias from “The Pearl Fishers” and “Rusalka”, during which she had to clear her throat a couple of times and seemed to rely on sheer will-power to finish. Even so, there was no doubt about the authority of her renditions, although the inclusion in the programme of the Queen of the Night’s “revenge” aria was a sad mistake. Written for a dramatic-coloratura (which Ms Rozario definitely is not) it was painful to hear and perhaps to sing, causing grave concern for Ms Rozario’s vocal health. Thankfully this was unfounded, as she returned later to give an utterly stupendous, show-stopping account of “Its my Wedding” from the opera “Enchanted Pig” by Jonathan Dove.
Mark Troop’s sure-footed piano-accompaniment provided a bedrock of musical support (though sometimes almost overpowering Ms D’Mello) through the evening, which ended with the three ladies singing Dvorak’s Three Gypsy Songs (including the popular “Songs my mother taught me”) with perfect co-ordination. And, in keeping with Ms Rozario’s and Ms D’Mello’s roots, the encores were a couple of lilting Goan folk-songs, sung in the native Konkani, which Ms Hurrell had mastered in two weeks!
My first review for them was of a concert featuring three sopranos, including the Mumbai-born but UK-based Patricia Rozario.
Since this was extensively edited on the website (sometimes, I admit, for the better!) here is my original piece:
Three of a Kind!
Operatic arias by Patricia Rozario (soprano), Susanna Hurrell (soprano) and Joanne D’Mello (soprano).
Tata Theatre, National Centre for the Performing Arts (NCPA), Mumbai, India.
9 January 2012.
There are sopranos and sopranos….and this concert at the Tata Theatre in the National Centre for the Performing Arts, Mumbai, showcased three species in the genus.
All three shared a basically lyric fach and timbre, with one offering a shade of spinto; another, the bright tone of a coloratura. Occupying a solid, quintessentially lyric middle-ground between the two was their teacher and mentor, Patricia Rozario. Recently honoured with an OBE, Ms Rozario taught Susanna Hurrell at the Royal College of Music’s International Opera School; and her own compatriot, Joanne D’Mello from Goa, also at the RCM. Both students joined their teacher in this programme of mostly familiar operatic arias and duets (and a few folk-songs).
However, the very first item on the programme was decidedly unfamiliar, Brilla nell’ alma from Handel’s “Alessandro”. Ms Hurrell launched into it con brio but lacking the laser-sharp focus of the true coloratura; and with some approximation in the florid passages. These traits, along with a few lapses in intonation and little evidence of a proper trill, were also seen in two of the latter pieces, the valse from Gounod’s “Romeo et Juliette” and Adele’s Laughing Song from “Die Fledermaus”; but Ms Hurrell saved the day with her confidence above the stave. And really came into her own during Manon’s Adieu, notre petite table, which was performed complete with the preceeding recitative, the singer throwing herself convincingly into Manon’s predicament, fully conveying her conflict on leaving her lover for the high-life.
Joanne D’Mello has the makings of a fine lirico-spinto, though at the moment her voice seems still somewhat unformed. It is relatively small, with almost the timbre of a lyric mezzo in the lower register; but free, ringing top notes. However, there is sometimes a noticeable beat in the voice, which is a little worrying to hear at such an early stage in her career. She is amazingly responsive to changes in colour, differentiating clearly not only between operatic characters but also contrasting portions within the same aria. This was made evident in Cleopatra’s lament from Handel’s “Giulio Cesare” (though she lacked the requisite heft) while her rendition of Euridice’s Che fiero momento showed great sensitivity to emotion and meaning of words. Her Musetta was coquettish and playful but Despina less convincing; and she managed the mezzo parts of Dorabella and Mallika, in the duets respectively from “Cosi fan tutte” and “Lakme”, with aplomb, both partnered by Ms Hurrell.
She was also a charming Susanna in the duet Canzonetta sull’ aria from “Le Nozze di Figaro” in which she was joined by Patricia Rozario as the Contessa. From the start, it was evident that something was terribly wrong and Ms Rozario seemed to be having an off day (courtesy the Mumbai smog?) for this was not the Patricia we have come to know and love! Her legato, always the pride and joy of her vocalism, was heavy and effortful here; and also in the subsequent arias from “The Pearl Fishers” and “Rusalka”, during which she had to clear her throat a couple of times and seemed to rely on sheer will-power to finish. Even so, there was no doubt about the authority of her renditions, although the inclusion in the programme of the Queen of the Night’s “revenge” aria was a sad mistake. Written for a dramatic-coloratura (which Ms Rozario definitely is not) it was painful to hear and perhaps to sing, causing grave concern for Ms Rozario’s vocal health. Thankfully this was unfounded, as she returned later to give an utterly stupendous, show-stopping account of “Its my Wedding” from the opera “Enchanted Pig” by Jonathan Dove.
Mark Troop’s sure-footed piano-accompaniment provided a bedrock of musical support (though sometimes almost overpowering Ms D’Mello) through the evening, which ended with the three ladies singing Dvorak’s Three Gypsy Songs (including the popular “Songs my mother taught me”) with perfect co-ordination. And, in keeping with Ms Rozario’s and Ms D’Mello’s roots, the encores were a couple of lilting Goan folk-songs, sung in the native Konkani, which Ms Hurrell had mastered in two weeks!
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