Two new concert reviews.

I was asked by Seen and Heard International to review two performances in quick succession: one featuring Zubin Mehta conducting the Symphony Orchestra of India and the second, Operalia 2024.

Here are the links to my reviews:

Maestro Zubin Mehta returns to his roots – Seen and Heard International (seenandheard-international.com)

Operalia 2024 in Mumbai: a mixed bag – Seen and Heard International (seenandheard-international.com)

Comments are welcome on the S&H website, below each review!

Lovely recital but a mish-mashed program.

Commissioned by and originally posted on Seen and Heard International here:
http://seenandheard-international.com/2018/02/a-marvellous-song-recital-by-baritone-benjamin-appl/

Song Recital – Benjamin Appl (baritone), Simon Lepper (piano), Experimental Theatre, National Centre for the Performing Arts (NCPA), Mumbai, 18.2.2018. (JSM).

Schumann – Widmung

Britten – The Foggy, Foggy Dew

Poulenc – L’offrande

Hahn – À Chloris

Grieg – Lauf der Welt

R. Strauss – Geduld

Mendelssohn – Auf Flügeln des Gesanges

Schubert – Seligkeit

                  Ständchen

Finzi – It was a lover and his lass

Britten – The Salley Gardens

Poulenc – La maîtresse volage

Wolf – Hoffärtig seid ihr schönes Kind

Grieg – Zur Rosenzeit

R. Strauss – Morgen

Wolf – Wir haben beide Zeit geschweigen

             Begegnung

Schumann – Du bist wie eine Blume

Brahms – Sonntag

R. Strauss – Du meines Herzens Krönelein

Vaughan Williams – Silent Noon

Schubert – Die Taubenpost

Brahms – Wiegenlied

Schubert – Erlkönig

Wolf – An die Geliebte

Schubert – Der Tod und das Mädchen

Loewe – Süßes Begräbnis

R. Strauss – Allerseelen

Grieg – Ein Traum

Schubert – Wandrers Nachtlied II (encore)

           

This Sunday afternoon recital in Mumbai by the young German baritone Benjamin Appl was a potpourri of songs in three languages and in widely-differing styles by various composers. These were loosely strung together as individual pieces rather than in groups, with the unifying concept of depicting a tragic love-story, or so we were told, but the idea was stretched too thin to be convincing. However, the sequence of songs, particularly in the programme’s second half, did not present too many musical jolts since most consecutive selections seemed matched in key, if not in kind. They were interspersed by explanations given by the singer, though mercifully these interruptions were few and not cloying.

The recital began with Schumann’s Widmung and this immediately presented the singer’s strengths and weaknesses. There was an innate musicality in everything he did, aided by prodigious breath-control and a wonderful sense of legato, also heard to great effect later in Mendelssohn’s Auf Flügeln des Gesanges. He did seem to have some difficulty in songs with a very low tessitura and, more often than not, his softer tones seemed to have insufficient breath-support thus lacking a certain roundness, for instance in Brahms’ Wiegenlied. However, dynamic markings of mezzoforte and above found him singing out with clarion voice and flawless attack.

Herr Appl excelled in expression. There was no doubt that he felt and understood the songs deeply; and spared no effort in conveying this to the audience. One might say he did, on occasion, over-interpret the songs; but never self-consciously. Better a little too much than too little. A prime example of this was Schubert’s Ständchen, which began with the singer taking expressive liberties with line and rhythm but ended with an unforgettable beglücke mich.

The concert’s highlights included Geduld and Morgen by Richard Strauss, the former sung with vivid word-painting, the latter floated magically with iridescent accompaniment by Simon Lepper. Erlkönig was given a powerhouse performance, the four voices clearly demarcated, with perhaps the most thrilling rendition of the words “so brauch’ ich Gewalt” that this critic has ever heard. However, Mr. Lepper was too loud in the early part of this song, nearly drowning-out the singer (the piano was kept wide-open throughout the recital) though elsewhere he was unfailingly sensitive and ideally supportive.

On the whole then, a marvellous recital and a Sunday afternoon well-spent. However, one wishes the organisers (the National Centre for the Performing Arts in Mumbai) had presented a more consistent and better arranged programme, rather than this mish-mash. Especially since the audience would applaud after each song, until the singer politely requested them not to!

A Flawed Yet Promising Recital by Baritone Sergio Vitale

The much-awaited opera duo recital planned by the NCPA, featuring the soprano Rosa Feola and baritone Sergio Vitale, left many people disappointed because the soprano had taken ill.
Which was a pity because she seemed to be the better of the two, as one could surmise from clips on Youtube!
Anyway the guy managed to hold the evening together...though one wished the accompanist were better.


An edited version of the following review is printed on Seen and Heard International here:
http://seenandheard-international.com/2017/08/a-flawed-yet-promising-recital-by-baritone-sergio-vitale/
(Also apparently available via a link on http://theoperacritic.com/ which can be accessed only by a paid subscription).


Opera Recital – Sergio Vitale (baritone), Fabio Centanni (piano), Tata Theatre, National Centre for the Performing Arts (NCPA), Mumbai, 8.8.2017. (JSM).
Mozart – Le Nozze di Figaro: Hai già vinta la causa
Bellini – I Puritani: Ah! per sempre io ti perdei
Rossini – Il barbiere di Siviglia: Largo al factotum
Liszt – Mephisto Waltz no:1
Donizetti – Don Pasquale: Bella siccome un angelo
Verdi – Falstaff: Ehi! Paggio!...L’onore! Ladri; Ehi! Taverniere! Mondo ladro
Tosti – ’A vuchhella

On account of a sudden deterioration in the health of soprano Rosa Feola, this concert, which was supposed to be an opera duo, became a solo recital by baritone Sergio Vitale accompanied by pianist Fabio Centanni.

Mr. Vitale’s programme ran the gamut of the baritone repertoire, from Figaro to Falstaff. “Work-in-progress” he announced modestly before one of the pieces; and this term could well be used to describe his singing as a whole.

The opening Mozart aria immediately conveyed his strengths and limitations: a full, rounded tone in the middle voice but strained at both extremes; genuine musicality compromised by imperfect execution of bel canto ornamentation and passage-work; an ability to communicate character and emotion when unencumbered by too much musical effort.

The aria from I Puritani fared better, as the baritone attempted sustaining a clean Bellinian line. However, his technical shortcomings were more exposed here, as later in the Donizetti, including a tendency to lunge at high notes from below (especially in upward-moving passages) and intonation that was somewhat suspect, often being just under true pitch.

Mr. Vitale lightened his tone (as he should) for Rossini’s Figaro, whose Largo al factotum was given with impish, infectious joie de vivre and a fine command of patter-singing. But the baritone cracked on the top G; and this highlighted his overall difficulty with high tessitura.

Fortunately, he came into his own as Verdi’s Falstaff, whose arias were a last-minute addition to the programme. From his first cry of Ehi! Paggio! it became evident that the singer was in his element and this role was a perfect fit, vocally and temperamentally. Falstaff’s Act 1 monologue was delivered with immense chutzpah and vivid word-painting; his Act 3 musing on the vagaries of the world was appropriately introspective.

The baritone ended the recital with the popular Neapolitan song ’A vuchhella. Here his innate musicality and good intentions, undermined by flawed vocalism, were all too apparent.

Fabio Centanni’s accompaniment was too loud, often drowning out the singer. It made one wonder why the piano was kept wide open and not on short-stick. His single solo, Liszt’s Mephisto Waltz no: 1, was clangy and fatiguing.

The concert was an interesting introduction to a young singer. If his Falstaff is anything to go by, and with some work on vocal technique, he has the potential of a richly promising career.

Opera Gala and Bombay's Boheme.

In February 2017, the NCPA presented a season of operatic performances, including two concerts and a production called "La Boheme Revisited". I attended the first Gala...which was mediocre; and the opening night of the opera proper...which was "ingenious" in the wrong way!
Both reviews were commissioned by Seen and Heard International and were combined into one. They can be found here:
http://seenandheard-international.com/2017/02/new-reviews-of-opera-in-mumbai-a-gala-and-la-boheme-revisited/
(Also apparently available via a link on http://theoperacritic.com/ which can be accessed only by a paid subscription).
Readers are welcome to draw their own conclusions from the reviews...and leave comments!

Warhorses, for baritone and orchestra

This concert-review was commissioned by Seen and Heard International and published here:
http://www.seenandheard-international.com/2012/10/02/warhorses-for-baritone-and-orchestra/

Anooshah Golesorkhi (baritone); Symphony Orchestra of India, Zane Dalal (conductor).

Jamshed Bhabha Theatre, National Centre for the Performing Arts (NCPA), Mumbai, 30.9.12.

Wagner: “Rienzi” - Overture

Verdi: “Don Carlo” - Per me giunto….O Carlo ascolta

“Otello” - Credo in un Dio crudel

Suppé: “Poet and Peasant” - Overture

Verdi: “Il Trovatore” - Il balen del suo sorriso

“Un Ballo in Maschera” - Prelude to Act 2; Eri tu che macchiavi
Puccini: “Tosca” - Te Deum

Rossini: “Semiramide” - Overture

Verdi: “Macbeth” - Pietà, rispetto, amore

Giordano: “Andrea Chénier” - Nemico della Patria

Johann Strauss Jr: Egyptian March

De Curtis: Non ti scordar di me

Johann Strauss Jr: “Emperor” Waltz

Leoncavallo: Mattinata

Baritone Anooshah Golesorkhi returned to Mumbai exactly two years (to the day) after his stunning performance here as Baron Scarpia in “Tosca”, to give a recital consisting of seven mainstays of the operatic repertoire and two popular songs, interspersed with orchestral favorites. A challenging program, executed with a modicum of success; with the participation of the Symphony Orchestra of India, conducted by Zane Dalal.

Mr. Golesorkhi possesses a voice of medium power, lacking the squillo of the true Verdian baritone but reasonably secure on the high notes, though less so at the bottom of the stave. There is genuine musicality at work, an attempt at line and legato which sometimes, however, falls short and is further stretched by slow tempi or extremes in dynamics and tessitura. Above all, there is real awareness of character; an ability to adapt color and expression to suit psyche and emotion. Thus, the seven gentlemen portrayed did NOT sing with one voice.

The major disappointment herein was, surprisingly, Scarpia. Unlike his previous incarnation in this city at Mr. Golesorkhi’s behest, the Baron lacked almost all semblance of lust in the Te Deum; and was sometimes barely audible over the orchestra.

The baritone’s best performance of the evening was Gérard the revolutionary, in Giordano’s verismo warhorse “Andrea Chénier”. The character’s complexities and contradictions; his compulsion to live-up to ideals all came across in a moving performance of the aria Nemico della Patria. Within the singer’s limitations, it packed a powerful musico-dramatic punch.

The five Verdi villains, anti-heroes and noble souls lay somewhere between those two in accomplishment. Of these, Iago fared the best, his Credo delivered with bite, venom and vivid word-painting; in particular the penultimate utterance “La Morte e il Nulla!” given in a chilling whisper. But here again, Mr. Golesorkhi was sometimes almost drowned-out by Mr. Dalal’s orchestra whose “accompaniment” was often too loud.

Macbeth’s Pietà, rispetto, amore began with a vocally secure and appropriately blustering recitative, undergoing a sea-change at the thought of possible defeat and ending in a plangent mezza voce. The aria proper was performed with fine Verdian cantabile unfortunately compromised by occasionally intrusive aspiration.

Also compromised were Il balen del suo sorriso from “Il Trovatore” and Eri tu from “Un Ballo in Maschera” by inconsistent legato in phrasing and execution of ornamental gruppetti; and a reluctance to give some notes their full value. The former aria was taken at a dangerously slow pace which exacerbated the singer’s problems; and in the latter, Renato’s bitter indictment of his unfaithful wife’s relationship with his best friend was, interestingly, conceived more in sorrow than anger.

The Marchese di Posa’s death scene from “Don Carlo”, with which the baritone began his recital, was a clear indication of what was to follow, indicating the singer’s strengths and weaknesses. These were again evident in the popular songs with which he concluded the program, Non ti scordar di me and Mattinata, both sung with verve, grace and generosity of spirit, making one forgive any previous shortcomings.

Maestro Dalal elicited fine, sensitive playing from members of his orchestra, particularly Principal Cellist Boris Baraz and, in the accompaniment to Eri tu, flautists Katherine Bicknell and Sarah Bennington, along with Tatiana Oskolkova on the harp. However, as noted earlier, the balance of orchestra with baritone-soloist needed to be better-judged, especially since both were placed at the same physical level.

The trumpet-calls which began Wagner’s “Rienzi” Overture (and the concert) were clarion-like and executed with perfect swell and ebb; and the music of Rienzi’s Prayer was meltingly played. Although one got the feeling it peaked too early, this utterly musical performance of the overture made the tiresome bombast of its concluding pages tolerable!

The Overture to “Semiramide” was variable. After some tentative phrasing by the quartet of french horns, the ensuing Allegro was taken at a clip with fine rhythmic sensibilty and bounce, though one found the string pizzicati too soft in relation to the woodwinds, who played admirably. The brass section (here and elsewhere) seemed to lag a little behind the rest of the orchestra; and Rossini’s crescendi could have had better gradation.

One wondered why the comparatively lightweight Suppé and Johann Strauss Jr. selections were present in the program….perhaps to make it more palatable to mainstream audiences? In any case, the former’s “Poet and Peasant” Overture was given a sonorous opening, though the fiercely-trilled tutti which followed from the strings lacked dramatic attack; and the waltz had little Viennese lilt. Similarly, the performance of Strauss’ “Emperor” Waltz, despite much fussing over details, came across as entirely unidiomatic. However, his insouciant little Egyptian March was delivered with brio and charm.

On the whole, the concert had the makings of an enjoyable evening; but was severely undermined by terribly fatiguing sound, apparently caused by the new reflectors hanging over the orchestra. They seem to amplify and project the sound unnaturally, especially from the strings and woodwinds, making it harsh and headache-inducing. This was never the case in the Jamshed Bhabha Theatre whose acoustics could, in fact, be described as somewhat cavernous and indistinct, depending on where one was seated. If installing the reflectors is an attempt by the NCPA to “improve” the sound, the method is evidently counter-productive and extremely ill-advised!

Beethoven and Liszt: a Curate’s Egg.

Commissioned and published by Seen and Heard International at: http://www.seenandheard-international.com/2012/08/02/beethoven-and-liszt-a-curates-egg/

Maciej Pikulski (piano); Experimental Theatre, National Centre for the Performing Arts (NCPA), Mumbai, 1 August 2012.

Beethoven: Piano Sonata No: 8 in C minor, Op. 13 “Pathétique”

Piano Sonata No: 32 in C minor, Op. 111

Liszt: Totentanz (version for piano-solo)

“Miserere”: Concert Paraphrase after “Il Trovatore” by Verdi

Concert Paraphrase on themes from “Rigoletto” by Verdi

The pianist Maciej Pikulski is well-known to Mumbai audiences, having given several concerts here as soloist and accompanist. He returned to the National Centre for the Performing Arts for a set of two performances, one featuring the piano music of Beethoven and Liszt.

Beethoven was first to grace the keyboard, with the “Pathétique” sonata. Pikulski’s opening set the tone for his performance, lyrical and legato. With much use of the pedal, the opening’s questioning phrases and agogic pauses lost most of their drama; and the ensuing Allegro, though initially precise, soon gave way to a kind of homogenous anonymity with occasional smudged runs and wrong notes. There was hardly any sense of Beethovenian Sturm und Drang.

The following Adagio Cantabile fared much better. After a somewhat meandering opening, Pikulski showed himself possessed of a fine lyrical sensibility that he used to milk the movement of every ounce of poetry. The Rondo finale followed almost without pause; and here the pianist really came into his own from the very first notes, giving an elegant, assured performance.

The recital continued in Beethoven’s “C minor mood” with his last sonata, the Opus 111. Here again, Pikulski fell short of drama, the first movement’s Maestoso opening almost perfunctory; the Allegro con brio seemingly oblivious of Beethoven’s appassionato marking, conveying clarity rather than conflict.

This two-part sonata represents diametric opposites of “unmatched drama and transcendence” (Robert Taub) and, on a more philosophical note, “Samsara and Nirwana” (Hans Von Bülow). Though this performance was shy of the former, the latter was evident in all its purity, right from the wonderfully hushed opening of the second and final movement titled Arietta.

Here, Pikulski’s Chopinesque playing served well. Although the music’s jazz-like inflections could have been better pointed, the faery dances had a pearly translucence. His extended trills, however, were not always well-sustained, though the final one rose to a fine climax followed by an appropriately pensive epilogue.

The programme’s second half was, on the whole, another kettle of fish. It was clear from the outset that Liszt, rather than Beethoven, was Mr. Pikulski’s true métier.

The fiendishly difficult piano-solo version of “Totentanz” was given a stunning performance. The opening’s titanic pounding chords were followed by playing of unabashed virtuosity; and any fear that the performance would degenerate into loud vulgarity was dispelled by passages of meltingly beautiful lyricism.

Similarly, “Miserere”, the concert paraphrase after Verdi’s “Il Trovatore”, was accorded a vivid rendition, making palpable the emotional mise-en-scène in Act 4 Scene 1 of the opera. Starting with the deep funeral bells of the monks’ “Miserere” chorus, a poignant contrast was established in Manrico’s farewell to Leonora; and Liszt’s dark chromatic runs embellishing her tortured cries were highlighted with hair-raising acuity.

Another Verdi concert paraphrase,“on themes from Rigoletto” ended the scheduled programme. Like the preceeding “Miserere”, this is a re-working of a single scene of the opera, the quartet “Bella figlia dell’amore” from Act 3….but, coming after the former, it was somewhat anti-climactic. The nervousness of its introduction could have been better delineated; and the main theme was lacking its undercurrent of shameless sexuality. Even so, there were some beautifully-filigreed runs; and the piece ended with an impressive series of cascading chords.

The encores came as a surprise. Mr. Pikulski invited to the platform his collaborator for the next evening, the baritone Laurent Naouri. Having been in the audience through the concert, Mr. Naouri admitted he would be singing cold: under the circumstances, he would have been wiser not to attempt Ich grolle Nicht from Schumann’s “Dichterliebe”, which stretched him to the limit. The second encore was the Drinking Song from Ravel’s song-cycle “Don Quichotte à Dulcinée” and was decently dispatched.

It was only while leaving the concert-hall did this reviewer notice the marque of the piano being used: a Yamaha. Considering the weight and stature of the music being performed, why couldn’t the NCPA provide its Steinway??

Art for Arties' Sake

A slightly-edited version of this review has been posted (along with my previous music/opera reviews) on my webpage at: http://www.seenandheard-international.com/tag/jiten-s-merchant/

Arties Events are an international initiative by the cellist Gauthier Herrmann, to spread an awareness of classical music in countries where it is not indigenous. They are based in Pune, India; and their Festivals of chamber music are held twice a year (March and November) in various locales, spanning the length and breadth of this country. Now in its ninth “edition”, the Festival included three performances in Mumbai, of which this reviewer attended the first.

The program was unusual, consisting of music for soprano, piano, clarinet and string quartet in various combinations. Indeed, some of it had probably never been performed in this city before; and thus was of great interest to those jaded by predictable choices in chamber music programming.

The concert began with a group of French mélodies by Fauré, Debussy and Hahn, all settings of poems by Paul Verlaine. In these, soprano Karen Vourc’h showed a keen affinity for the idiom but was often inaudible below the stave at the end of a phrase, owing to inadequate breath-support. Pianist Emmanuel Christien offered richly pointed accompaniment, underscoring the subtle harmonies in the music.

“Luonnotar” by Sibelius, in the original, pre-orchestrated version for voice and piano, was next; and here Ms Vourc’h gave a thrilling performance, utterly secure in her vocalism, with unflinching high notes. However, she missed conveying the mystery of the closing pages depicting the wonder of creation. Mr. Christien, on the other hand, began with the right air of atmosphere in the tremulous, hushed piano introduction but was no surrogate orchestra….though he whipped-up a respectable sea-storm in the work’s central climax.

Schubert’s “Der Hirt auf dem Felsen” ended the program’s first half, where Vourc’h and Christien were joined by clarinettist Olivier Patey, familiar to Mumbai audiences from his recent appearance here with the Mahler Chamber Soloists (see review). His phrasing was exquisite, sensitively dovetailing with the soprano. Ms Vourc’h was assured and even from top to bottom of the very wide range demanded by this song, the octave-plus leaps posing no problems. She did not, however, seem so comfortable with the German language nor the coloratura, which was somewhat approximate. Also, near the end of the song’s middle section where the shepherd bemoans his lot, there is a wonderful transformation into the major key at the words Die Herzen es zum Himmel zieht mit wunderbarer Macht (surely the dying Schubert’s acceptance of Divine Will, depicted in music of great beauty and serenity) where her coloring was more anxious than spiritual.

Post-interval, Mr. Patey returned with string quartet, proving himself well up to the virtuosic demands made of his instrument in Weber’s Clarinet Quintet. For instance, the upward runs in the Adagio were almost perfectly mirrored in their pianissimo “echoes”; and the intricate passagework in the finale was, quite literally, breathtaking. But his tone tended to harden while playing forte above the stave; and the soft, impish figures in the Menuet were sometimes imprecise and barely audible.

The work has often been criticised as being more a concerto for clarinet, accompanied by string quartet, rather than a truly symbiotic piece of chamber music; but the performance often disproved this, for example during the trenchant dialogue between Mr. Patey’s clarinet and Gauthier Herrmann’s cello.

Finally, Ms Vourc’h joined the string quartet, along with Mr. Christien at the piano, for an impassioned rendering of Chausson’s “Chanson Perpétuelle”. They made a superb ensemble; soprano and piano blending seamlessly with the quartet (though Marie Chilemme’s viola could have had more presence) and the performance seemed deeply felt by all, quite moving in its intensity and building to a cathartic climax.

In sum, the concert was a worthy, out of the ordinary start to another Arties Festival, auguring well for more to come.

Burana in Bombay

This piece is also posted (with small edits) on my webpage at http://seenandheard-international.com/tag/jiten-s-merchant/

Large-scale works are beloved of concert organisers and audiences alike. After all, which ordinary symphony can compare with Beethoven’s Ninth or Mahler’s Eighth for sheer glamour or frisson? "Carmina Burana" is surely one of the few in the same league.

However, like others of its ilk, it makes huge demands. For one thing, co-ordinating the oversized orchestra (with augmented percussion section and two pianos), a large choir, children’s chorus and three soloists can be a logistical nightmare. And then there’s the musical challenge of making sure they are all well-rehearsed to play in time and tune, under a conductor who knows exactly what he’s doing.

It is to the NCPA’s credit that these formidable challenges were partially met, on the evidence of the work’s first performance (of two) at the Jamshed Bhabha Theatre. Not that Mumbai hasn’t heard "Carmina" before: this was at least the third time the shockingly contemporary Benediktbeuern manuscripts from the Middle Ages, set to music by Carl Orff, have been performed here.

Marat Bisengaliev, Music Director of the Symphony Orchestra of India, conducted this performance hinself, with mixed results. Mr. Bisengaliev favoured extreme and sudden changes in tempo, sometimes in two adjacent phrases. A case in point was his conducting of the two orchestral dances: the first thrillingly fast, with its syncopations neatly pointed; the second slow to the point of somnolence. There could have been fewer and shorter pauses between sections in a piece, thus making the performance more spontaneous and organic; and one missed an overall sense of structure and unity in his evidently “episodic” interpretation.

The orchestra was able to keep up with him….most of the time. There were occasional minor imprecisions in ensemble from the brass; but the strings played con brio and the percussionists gave it their all.

The chorus was another matter. One initially got the distinct impression they were focussing entirely on singing the words and notes correctly, with the consequent loss of open-throated abandon that only fluency can bring. Things improved gradually during and after Ecce gratum as they gained confidence; and by the time Veni, veni, venias came around, they were in fine fettle. However, there were some instances of imperfect co-ordination with orchestra, especially when the chorus had to begin a piece --- most damagingly in Floret silva nobilis and Swaz hie gat umbe where their attack was poor indeed, indicating insufficient rehearsal with a mercurial conductor! Moreover, the sopranos did occasionally flat their highest notes; and the male chorus could have been more full-bodied during In taberna; but the children’s chorus was bright and clear.

Soprano Annamaria Dell’Oste gave a fluent account of her opening solo; but, as the performance continued, her vibrato became intrusive. She seemed stretched by the conductor’s slow tempo for In trutina, consequently needing to take breath-pauses mid-phrase; and her lower notes were virtually inaudible --- not surprising, since the part was written for a full-fledged lyric soprano; and, judging by her timbre, she is apparently a coloratura. However, this paid dividends in the fiendishly-high Dulcissime, where she managed the flights in alt with hardly any strain.

Baritone Javier Arrey sang with warm, full tone and immense musicality; but limited understanding of the meaning of words in the haunting Omnia sol temperat and the headlong Estuans interius (which he nevertheless ended with a ringing top A) while his drunken Abbot was decidedly sober. Even so, through impeccable legato and beautifully-rounded vocalism, he conveyed passion in Circa mea pectora and lovesickness in Dies nox et omnia movingly, singing the latter entirely in full-voice without resorting to the customary falsetto above the stave….and, sadly, cracked.

The famous Song of the Roasted Swan was prefaced by an evocative orchestral introduction by Mr. Bisengaliev. Tenor Filippo Adami launched into the piece with gusto, attacking the exposed high-notes with fearless security, shifting seamlessly into falsetto when required. This, combined with his graphic colouring of words, made for a vivid rendition and definitely the finest (albeit brief) contribution to the concert that evening.

Speaking of which, the subsequent performance the following day was probably more assured, with some of the kinks ironed-out. But that’s what rehearsals are for; and, with proper attention, it should certainly be possible to get things right on opening night!

Shame on the audience!

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.

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!