A Brilliant Recital: Rene Pape at the Metropolitan Opera House

The great German Bass Rene Pape and pianist Camillo Radicke presented a splendid recital this afternoon (Sunday, 24 September 2014) at the Metropolitan Opera House. I listened live courtesy of Metropolitan Opera Radio on Sirius Radio, and do hope to hear from those lucky enough to attend in person. For this recital Herr Pape programmed a marvelous program of songs by Beethoven, Dvorak, Quilter and Mussorgsky.

Beethoven's Six Songs after Poetry by Gellert (Op. 48) began the program on a very intimate, spiritual level, with Pape's amazing German enunciation, clean and unaffected, as though recited by an actor of amazing skill (which, of course he is). Prayerful, joyful and filled with contemplation on the nature of man and God, Beethoven captures the essence of each of the selected "Spiritual Odes" beautifully, most notably in the longest (and final) of the songs, with its "theme and variations" style accompaniment (at times sounding like a Bach chorale prelude) with the singer weaving the melody throughout.

Pape was in beautiful voice, and the level of expression in Dvorak's more complex Biblical Songs (Op. 99) was like wandering on a personal, spiritual journey. The songs cover such a wide variety of emotion, but not in the typical Dvorakian manner, rather more sparse, raw and honest. Here, the partnership between Messrs. Pape and Radicke revealed itself even stronger in this, the longest set of the recital.

Following intermission came three Shakespearean songs by Roger Quilter. Pape's English, so perfectly, crisply enunciated was betrayed only occasionally by the hint of his accent which added an extra bit of charm. The songs, all three gorgeous, would have flowed a bit
nicer, if, DURING the postlude of the first, ("Come Away Death") some over-exuberant fan began applauding. Not being there, I'm uncertain what happened next, but guessing from the audience's laughter the singer made some sort of gesture or facial expression to this person, provoking the audience into mass laughter.

The final set was Mussorgsky's powerful Songs and Dances of Death, and here the Rene Pape the recitalist became an Rene Pape the opera singer, imbuing the music with a powerful, masterful interpretation of the text wed completely to music which was masterful, beautiful and, when appropriate, bone chilling. Both singer and pianist emphasized the dance-like elements of Mussorgsky's songs and even only listening over Sirius, the effect provided a completely theatrical and emotionally absorbing experience. At its conclusion, the audience, naturally did the only thing they could and went appropriately nuts, calling both artists back several times.

After this kind of intense, emotional recital (the very opposite of a "light" entertainment) I half expected there would be either no encore, or perhaps a single lied generously offered. Instead, Mr. Pape, gifted us with three, the first the beautiful Zueignung of Richard Strauss, second a rarely performed, lovely Kinderwacht by Robert Schumann, and finally, a most unexpected one; Lerner and Lowe's If Ever I Would Leave You from the musical Camelot. In the final song, Herr Pape's English was superb, as the emotions poured out perfectly with the music, ending with the high note option and the singer clearly had the audience in the palm of his hand and (according to the announcers) leaping to their feet once again.

A truly marvelous way to spend the first Sunday afternoon of autumn.

Simon Keenlyside: Wigmore Hall Recital (CD)

I’ve been giving another listen to Simon Keenlyside’s wonderful Wigmore Hall recital with pianist Malcolm Martineau, given on 26 October 2008 and what a joyous celebration of song this recital is.

Opening with a set of Schubert that is not without a couple of flaws here and there, Keenlyside takes risks that seem uncommon today to recitalists today, seemingly shading texts and lines with something that approaches equal part musician and singing actor. There is a touch of huskiness when he approaches head voice that I‘m sure will drive some listeners running. For some this sort of thing simply will not do, but for those who love genuine interpretive singing those blemishes seem actually to enhance the text. Schubert’s “Verklärung“ (Transfiguration), which begins with a rather grand operatic recitative before segueing into its gentle lied the baritone alternates between almost painfully beautiful tone to hushed, slightly rasped sound . . . but with the text “let me dwindle away gently,” such an effect is (to these ears) not only welcome, but raises the song to something beyond the
beautiful noise that many lieder singers - and audiences - seem satisfied
with.

The following “Die Sterne” has a lilting, almost dance-like quality . . . and so it goes, throughout with Keenlyside making the most of every line of text, wedding it beautifully with the music and unafraid to change the tone from robust to delicate. His observations to appogiatura, turns is exemplary in each song. The Schubert set ends with that old chestnut (which seems rarely heard anymore) “Ständchen” - as lovely as I’ve heard in a very long time - and seemingly the audience as well as I can rarely recall a first set of a recital ending with cheers as well as applause.

Even better is the set of six Wolf lieder, though moments of the first “Der Knabe und das Immlein” have a couple of intonation and tonal issues which, as the singer portrays the song’s several characters sound as if they threaten to lose control. Immediately on its heels however follow absolutely gorgeous readings of “Gesang Weylas” and “An die Geliebte” that are positively swoon--inducing. The best of the Wolf, however is grandly theatrical “Lied vom Winde“ which ends with Keenlyside saying his goodbye as if he’s floating away himself. It is nothing short of brilliant musicmaking and word painting, which is what this sort of thing is all about anyway, ja?

The singer really excels at programming for each set seems to move from strength to strength and the Wolf is followed by eight gems by Fauré. His French sounds (to me anyway) near perfection, and the colors in his voice match the composer’s requirements. Again, here Keenlyside show a fearlessness with an ability to float in some head voice - usually to exquisite effect. In “En sourdine” - the richness of his voice blends to stunning effect with a natural leaning into the nasality of the language that . . . well, here comes that word again . . . “exquisite.” If he does not break your heart in “Spleen” . . . see a doctor, it may not be fixable.

I tend to love the Fauré the most, but really, Simon’s best singing comes in the Ravel that closes the recital. Here, the most beautiful part of his voice - the middle - is allowed to shine more than in any other portion of the recital. As elsewhere, Keenlyside’s attention to textures and word painting is captivating and “freed” (if that’s the right word) from the rhythmic structure of more standard poetry verse, his reaching for dramatic effects is more welcome than - even using straight tone and other vocal “effects” to maximize the wedding of word to music.

Simon gets a nice little laugh announcing his encore, Poulenc’s “Hotel” - but no laughs from the beautiful rendition he closes the recital with.

Throughout the entire program, Mr. Martineau proves to be an absolutely compelling partner to the singer, the two seemingly breathing every phrase and nuance in tandem. Even more remarkably, Martineau seems to sense what appear to be "on the spot" (though this is clearly the work of a well rehearsed team) sudden changes, as when the singer suddenly produces an instant - and ravishing diminuendo - the piano subsides immediately, giving a sense of spontaneity both rare and wonderful.

For lovers of classic style vocal recitals, this is a must have and I can’t imagine ANY fan of this wonderful singer being without this release. Get it. Seriously.