Come fly with the Dutchman

Well, that was a ride and a half! Up close and personal with with the Sydney Symphony and some fabulous soloists for a Wagnerian opera. Like, really close. Third row close. My ears will take some time to recover from the eargasm.

To be sure, it may not have been the best place to hear some of the voices, as singer's voices do tend to be quite directionally focused, and they were definitely singing over our heads. Thus some passages may have struggled to carry to our seats, but it was only small patches, with most reaching us fine, even if not with the full power those voices displayed.

And what voices! Anytime you have Eric Owens on stage is a good time. Adding the fearless and magnificent Orla Boylan and Ain Anger as well, and you have the foundations for an astonishing performance.

So, from the outset, despite this being a concert in the symphony season, it was a very theatrical event. Before the concert started, the lights were dimmed till only the stage was lit. The backdrop lit up with images of the sea as the opening chords of the prelude kicked in. From there on, the magic of Wagner began to cast his spell, weaving his impossible gothic tale of horror and redemption.

It has to be said, from the word go, the orchestra and its conductor David Robertson were on fire, wringing out every inch of drama and excitement of an admittedly already exciting score. As mentioned before, this was a very theatrical concert, so as the usual choir stalls were behind the screens, the choir was set up with the men on one side of the stage and the women the other. The offstage horns for the calls to the Dutchman's ship were towards the back of the auditorium.

From the opening notes of Anger's Daland, there was no doubt we were in for a treat. His huge beautiful bass, used to good effect last week in the Verdi Requiem took on a new level, as he clearly revelled in the role, bringing nuance born of a clear understanding of the text. This was text driven singing, rather than just singing the notes, coupled with a beautiful expressive voice.

Beside him, the Steuermann of John Tessier seemed at first a little overwhelmed, but quickly grew in strength. His higher notes soared across beautifully, expressing the longing to be back home with his unnamed (possibly nonexistent) beloved. The timbre of his voice was just right for the role, making that youthful cry all the more right.

Then of course, the Dutchman of Eric Owens arrives, the reason for this performance in many ways. Sounding at once world weary, yet still also longing for release, he brought the mythic sailor to life, in both glorious sound and menace. His performance is every bit as good as as you would expect, but like many bass voices, his comes across much richer in person than in recordings. It's an unusual sound, as you would know if you have heard it, instantly distinctive, and glorious in villainous or troubled roles. The Dutchman is very much his role, just like his Alberich for The Met, a tour de force of singing a role, seemingly written for him.

I was also expecting good things of Orla Boylan as Senta. I was not disappointed. This is not Senta as ice maiden, this is Senta as glorious flesh and blood woman, a conflicted whirlwind of emotions, powered by a glorious sliver toned voice that cut through the orchestra with ease. She made the Ballad that is her big opening number both dramatically and musically cohesive, allowing the lyrical beauty to come through, as well as the intrinsic creepiness of the piece. She could make a fine career, just singing Senta around the world if she wanted, I expect.

To me, the Erik of John Dazsak was much stronger than his tenor soloist in last week's requiem. Whether the repertoire suits him better, or if having a character to portray is what made the difference, I'm unsure, but the difference was noticeable. He was convincing as the suitor rejected by Senta, abandoned for the hero who has haunted her dreams for years.

And, while it is only a small role, I also have to say the Mary of Sally-Anne Russell was a treat. She vividly brought life to the role, and was a clear demonstration that despite the starry talent on stage, Australia too has plenty of great singers, which Sydney Symphony needs to remember when casting. I know we have some great voices around, who we should be hearing and aren't.

And, as well as the great soloists we also had excellent singing (with much better diction this time) from the Sydney Philharmonia Choirs. They clearly relished being in character, and brought life to what could have been just stand and sing moments.

So, all in all another fabulous night of singing. I'm tempted to look for a ticket for Monday night to go again, though I suspect it is now all sold out...

 

I'll leave you with Ain Anger singing, for those who have not heard before...

Viva Verdi (RIP)

So, that Verdi Requiem, hey? Having been sung at loudly and gorgeously by four soloists and a massed chorus, as well as orchestra, for over an hour, everything does tend to become a bit numb. Gorgeousness blends into gorgeousness, counterbalanced with the fierceness of the fiery sections, as Verdi demands his full forces let rip in an orchestral orgy of horror at the day of judgement. And yet, so much beauty interspersed.

With the combined forces of the Sydney Symphony and the Sydney Philharmonia Choirs and the Tasmanian Symphony Orchestra Chorus, led by David Robertson, it was always going to be a big sound. Adding in three superb singers and you are pretty much bludgeoned into a delicious pulp. This is a good thing.

So, yes, I now can add Erin Wall to my list of Extraordinary Must See Singers. Beautiful, pure, lyric soprano, the sort that makes you go "how is she still singing that, that loudly and sounding pretty, not harsh?" Yes, she is one of those singers. Was it wrong I kept thinking through her singing of things I would love to hear her sing? Pamina and Countess both sit high in my list of things she would be amazing in. That heart breakingly beautiful sound would just leave you haunted in such roles.

So, needless to say she sang well. High notes wafted "up there somewhere" and the ability to go from the quietest pianissimo to her loud fortes without that sense of switching gears that you get with some singers. And such a beautiful sound from top to bottom.

Her mezzo companion was Olesya Petrova, bringing a big creamy sound, well matched to her soprano compatriot. The only time I found myself at all disappointed with her was in the Angus Dei section, when she and Erin sang in octaves. Next to Erin's higher notes, Olesya sounded slightly harsh. Not that she was, just that Erin was singing even more beautifully. It was weird, because the rest of the time, they sounded gorgeous together.  Something about those octaves though, left me thinking why is this not as gorgeous as it should be. Truly odd.

The other superb member of the quartet was Ain Anger, with a fierce bass sound. This is a man clearly used to singing bass villains, and doing it well. Sometimes, I heard a villainous snarl during some of his solo lines and thought, wrong piece for that flourish big guy, but otherwise he was fabulous. A big resonant bass voice who could boom fiercely through the Confutatis section. That it took over from the Ingemisco of John Daszak did seem a little unfair. For both.

To be honest, I was expecting better things from John Daszak. Now, maybe he was having an off night, or the Latin text is something he finds challenging, but I was definitely underwhelmed. Throughout, his voice sounded dryer, less resonant, and basically, tired. Maybe he was. He had sung the night before too (as had the others). But, having said that, all the notes were there, and when he was singing with the others, he blended in beautifully, the sections with him and the bass and the mezzo were just beautiful. I am just very glad the Ingemisco was not at the start, as he had improved by the time he got to that, but it was still not that gorgeous sound we were hoping for.

As for the choruses (for we had two in this), well, lots of sound, and no obvious wrong notes or bad entries. The only criticism I had, was that I would have liked more clarity of diction, but with that many singers, and a big choral concert from them next weekend as well, I can well understand why. That precision requires lots of drilling, and with two big concerts back to back, it does become a challenge to get both up to that standard.

Which of course, leaves David Robertson. For the most part, I liked what he did with his forces. There were a couple of interesting touches to how he shaped sections, noticeably at the end of the Dies Irae sections, where he worked to get an almost bouncy, juddering effect, which worked. My only criticism, would be I would like a touch more savagery and more of a turning on a dime feel to my Verdi. This was sometimes too pretty, when Verdi really comes to life with savagery. But, considering the forces, I suspect he went more for unity, rather than fierce precision.

So, on the whole, a truly fabulous concert. Not perfect but, very very good!

Erin singing a different Verdi, in case you do not know her voice.

And, now that the boffins have done their thing, the entire concert is available for viewing online...

Click here (needs silverlight)

Sydney Philharmonia Triple Threat concert (or Stuart Skelton lovefest)

So, another Stuart Skelton concert. Another chance to glory at the singing of this man. Seriously, I am in awe. The clarity and beauty of his pianissimo high notes, that should not be legal on a dramatic voice. Seriously, those sounds, they belong in a lyric tenor, not a heldentenor. Yet, he stands there, singing beautiful soft floated notes that reach the back of the concert hall, that then swell into a huge sound that can be heard despite the full orchestra blaring. That is the sign of seriously good technique, coupled with a unique gift.

And yes, that is what we got. A lot of amazing singing. From the opening with the dawn interlude from Peter Grimes and the chorus that followed it, we got to sample Peter Grimes extensively. I admit, my Grimes knowledge is not extensive, I have yet to see a production in the flesh, and the production my memories of it derive from was in the 90's. But, gosh, so much beautiful filmic music. I mean that in the best way. The score is full of beautiful scene painting, and we got to hear some lovely excerpts from the score, with carefully programmed selections that flowed together to create a sense of the whole piece, while only playing a small fraction of the music. Of course, we got Stuart's glorious singing of "Now the Great Bear and Pleiades" which is about a thousand times better than the video attached here suggests. And Embroidery, sung by Cheryl Barker, who, as others have suggested, based on this outing, should do Ellen on stage. But we also got lots of chorus music, sung by the Sydney Philharmonia Festival Chorus, who while well drilled, sadly have about half the men they need. So, while they sounded glorious, there were times when the lack of male voices was painfully obvious.

But, more than anything, the chunks of Peter Grimes reminded me that I really made a mistake in not seeing the last Opera Australia Peter Grimes, a mistake I will not make again, if Stuart is singing it. It was a powerful demonstration why, to many people, he owns this role.

After Grimes, we had selections from Otello, starting with that gloriously unexpected choral opening that really does create the fear of watching a storm at sea. This was one of the moments that I cringed at the lack of male voices, but once it had passed, I went back to glorying in the joy of hearing a large choir sing these glorious choral scenes that Verdi used to advance his story so well. We also got to hear Stuart singing some of Otello's music, along with Cheryl as his Desdemona. Hearing them in a staged production would be a treat for any opera lover, even if making the big blond bear into a moor, could pose a challenge for the makeup department (not to mention, awkward in so many PC ways) Would it be too much to hope for? Sadly, I suspect yes.

So, after interval, it was all Wagner, all the way. With the assistant conductor Anthony Pasquill taking the baton for the Lohengrin excerpts, we had the prelude and bridal chorus from Act 3 with In fernam Land following. After hearing that, all I can say is, if you get the chance, go see Stuart sing Lohengrin. Seriously, there is no one out there who can sing it like that. Its like that aria was made for his voice. (The fact that I cannot find video of him singing it to demonstrate is highly annoying) The clarity of his pianissimo and the beauty of them, not to mention the ability to swell from them to full voice, its truly astonishing. And I say that, as someone who prefers deep voices to tenors. No one sounds like this. No one.

Then we had Tannhåuser, with a chorus and Dich, teure Halle from Cheryl, which to my ears sounded a bit overwrought somehow. It left me longing for someone with a young fresh sounding voice singing it (for example Jennifer Behnke, go look her up on soundcloud if you have no idea) but, it was still interesting to hear someone not known for Wagner, singing it.

Then we had selections from my favourite opera to end, Meistersinger. Some choruses and the prize song from the final act. Again, I now want to find Stuart singing Walther von Stolzing, just so I can go hear him in a staged production. That chunk was enough, to tell me I could sit through any abominable eurotrash production, if he was singing it.

So there you go. Some truly glorious singing, a couple of awkward repertoire choices aside for the forces involved, but a fabulous concert none the less. Go hear Stuart if he is near you, there really is no one else who can do what he does, anywhere near as well…