http://www.scena.org/columns/reviews/020604-WKC-voicejmf1.html Voice Competition Final Opens with Tight Race
by Wah Keung Chan
Male singers dominated the opening session of the Finals of the First Jeunesses Musicales Montreal International Music Competition. Baritones Daesan No, Joseph Kaiser and bass Burak Bilgili led the way. The only disappointment was charismatic Russian baritone Mikhail Davydov.
After a three day marathon semifinal featuring 51 singers from 21 countries, the competition turns to a two evening final featuring 10 singers from 5 countries. Whereas singers of the semifinals performed a program of 4 groups consisting of an operatic aria, one oratorio or concert aria, and two song groups, the finals with orchestra features two operatic arias, one oratorio or concert aria and the imposed Canadian work. Originally, an orchestral song was included but probably the fear of paying overtime to the MSO musicians compelled organizers to drop the song. Too bad, as the result is heavy on opera. André Bourbeau, president of the Jury, told La Scena Musicale that the marks from the semifinal round do not carry over to the finals. With a change in venue from the 800-seat Salle Pierre-Mercure to the 2800-seat Salle Wilfrid-Pelletier, the finals should favour voices that can project in the big space. The performances of Day 1 of the finals show that repertoire choices will play an important part in the results of the competition.
Mikhail Davydov, baritone, Russia
Verdi: "Confutatis" - Requiem Gougeon - Alea Verdi - Infelice! E tuo credevi - Ernani Mozart - Finch'han dal vino - Don Giovanni
The choice of program of Davydov's final entry was disappointing. While Davydov captivated the audience in the semifinals with two Tchaikovsky selections, by his two Verdian selections, Davydov proved that he is far from being a Verdian baritone. Throughout the competition, most singers sang their best in their native language. Davydov would have done better if he had included a Russian aria. The Bass aria from Verdi's Requiem was an unfortunate choice as the tessitura was too low for Davydov. It was also clear that as had been anticipated in the semifinals, Davydov's Russian technique did not allow him to project in the big hall over the orchestra; the voice sits too far back and head resonance was lacking. Lack of experience showed, as in front of the orchestra, Davydov stood with a wide stance and a stiff upper body thereby negating the possibility of showing off the charisma that entrance the crowd in the semifinals. Only in the the Don Giovanni aria did he show some kind of life.
V: 80, P: 85
Daesan No, baritone, South Korea
Giordano - "Nemico della patria - Andrea Chénier Wagner - "O! Du mein holder Abendstern" - Tannhäuser Mendelssohn - "Es ist genug" - Elijah Gougeon - Alea
No immediately established that his is a baritone that can carry over the orchestra. Though a bit grainy, No's rich tone brought a regal presence. His Italian was very good, and the drama was convincing. The crowd roared their approval.
In the Wagner ode, No demonstrate a good legato, fine nuance and an intelligent concept of the characterization. The only blemish was a flat note in the middle. No continued with a masterful reading of "Es is genug" from Elijah.
V: 95, P: 95
Se-Jin Lee, soprano, South Korea
Bach: « Wie freudig ist mein Herz » Cantate BWV 199 Mozart: « Ach, ich fühl's » Die Zauberflöte Bizet: « Comme autrefois dans la nuit sombre » Les Pêcheurs de perles Gougeon: « Alea »
After singing a Caro Nome to almost die for, Lee unfortunately left off all Italian repertoire. A big mistake as Italian sat perfectly in her voice. German is not well placed for Lee's voice, as she appear to work hard in the Bach. Nevertheless, a fine interpretation emerged. Her performance of Ach, ich fühl's was quite touching as she use her impeccable technique to produce a great effect. While she closed the Bizet with a nice ending showing a lovely vibrato, most of the aria was rather boring. Her tendency of tilting her head up became evident, and I wonder if that may be responsible for some lost in projection.
V: 93, P: 90
Joseph Kaiser, baritone, Canada
Rossini: « Largo al factotum » Il Barbiere di Siviglia Schumann: « Hier ist die Aussicht frei » Szenen aus Goethes Faust Gougeon: « Alea » Britten: « Look! Through the port comes the moon-shine astray » Billy Budd
In the semifinals, Canadian baritone Joseph Kaiser proved to be perhaps the most musical touching of all the singers. Performing after a short intermission, Kaiser thrilled the audience with a convincing Largo al factotum from Rossini's Barber of Seville. Kaiser brought an easy well-projected voice that was easily heard in the big hall. He threw off the high Gs with ease leading to whispers afterwards that Kaiser is a tenor. The 24-year old baritone developed a good mood to the Schumann oratorio, but I found the inclusion of this piece curious, as it was not that interesting. Kaiser concluded his program with a moving interpretation of the Britten scene from Billy Budd, injecting a sombre mood to the soliloquy. Kaiser lost some of that intensity in the second half of the scene "I had to strike down that Jimmy Legs." Conductor Stefan Lano did not help to keep the orchestra volume down.
V: 92, P: 96
Burak Bilgili, bass, Turkey
Rossini: « La calunnia » Il Barbiere di Siviglia Gougeon: « Alea » Rossini: « Pro peccatis » Stabat Mater Bizet: « Quand la flamme de l'amour » La Jolie Fille de Perth
The most imposing voice of the evening was that of Turkish bass Burak Bilgili who immediately established himself as the one to beat with a devilish "La calunnia" from Rossini's Barber of Seville. Equally convincing was Bilgili's dramatic reading of the oratorio aria from Rossini's Stabat Mater. Bilgili's warm voice projects easily and his high notes came easily with the help of getting on his toes. The evening conclude with a full-throat presentation of an aria from Bizet's rarely performed La Jolie File de Perth.
V:96, P:98
Gougeon's Alea
The imposed unpublished work Alea (The die) by Canadian composer Denis Gougeon comprises of two parts that string together without a break and are built upon two Latin sentences. The opening part tests the singer's legato and range while the second part calls upon the vocal agility of the singer. Of the singers, only Davydov and Kaiser sang it from memory. Making the world premiere, the Russian sang it expressionless and did not leave much of an impression. No brought good nobility to the piece while Lee gave the most precise reading, showing that the work may work best in the soprano voice, for which it was originally written. Kaiser and Bilgili both gave ardent performances, though in the case of the former, he may have been hampered by his choice of a lower key.
The competition concludes tonight with a five more contestants, four sopranos and one tenor. Watch for Canadians Measha Brueggergosman and Mélanie Boisvert and lone tenor American John Matz. The concert begins at 7:30 p.m. At Salle Wilfrid-Pelletier and will be broadcast (audio) live worldwide through CBC Radio-Two and Radio-Canada's Chaîne culturelle as well as available in video webcast from Radio-Canada's website. Visit http://voicejm.scena.org for more details.
-- -- Wah Keung Chan Publisher / Éditeur ** La Scena Musicale ** http://www.scena.org 5409 Waverly, Montreal, Quebec, Canada, H2T 2X8 Tel: (514)274-1128 | Fax: (514)274-9456 | Advertising / Publicité : (514) 948-2520 email: info@s...
http://festivals.scena.org * June 2002 - La Scena Musicale's 6th Annual Summer Festival Guide * Juin 2002 - Le 6e guide annuel des festivals d'été de La Scena Musicale
|
| |