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Recital
London, Wigmore Hall, 30th May 2002
Simon Keenlyside, baritone
Malcolm Martineau, piano
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Franz Schubert:
Verklärung (Transfiguration)
An Silvia (To Silvia)
Freiwilliges Versinken (Sinking voluntarily)
Der Tod und das Mädchen (Death and the Maiden)
Gruppe aus dem Tartarus (Group from Tartarus)
Wandrers Nachtlied II, D 768 (The wanderer’s nocturnal song)
Im Walde, D 708 (In the woods)
Furcht der Geliebten (The beloved’s fear)
Dem Unendlichen (To the infinite one)
Himmelsfunken (Sparks from heaven)
Ständchen, D 957/4 (Serenade)
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Johannes Brahms:
Ständchen (Serenade)
Vor dem Fenster (In front of the window)
Die Mainacht (The May night)
Auf dem Kirchhofe (In the churchyard)
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Hugo Wolf:
An die Geliebte (To the beloved one)
Wo find’ ich Trost (Where do I find comfort)
Peregrina I
Auf eine Christblume II (To a hellebore)
Auf einer Wanderung (On a walking-tour)
Lied vom Winde (Song of the wind)
Lied eines Verliebten (Song of an enamoured man)
Der Jäger (The hunter)
Bei einer Trauung (At a wedding)
Abschied (Farewell)
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Encores:
Franz Schubert:
L’incanto degli occhi (The magic of the eyes)
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Hugo Wolf:
Fußreise (Travelling on foot)
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This recital is still available for members of www.andante.com to download
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What the critics say
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Review by Melanie Eskenazi for Seen & Heard
http://www.musicweb-international.com/SandH/2002/May02/keenlyside.htm
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Schubert, Brahms, Wolf: Simon Keenlyside, Malcolm Martineau, Wigmore Hall, Thursday May 30th 2002.
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„Almost from the outset, it was clear that we were not hearing a singer in the absolute best of health, and whether this was due to his recent accident or other indisposition, it would be unfair to judge Keenlyside by his renditions of some of the songs here, since I am sure that, to take one very obvious example, he is normally more than capable of singing ‘An Silvia’ far more comfortably than he did on this occasion. Nevertheless, this recital gave us the opportunity to experience some of the most beautiful singing and playing you could hope to hear, in a thoughtfully structured programme in which the well – loved predominated over the less familiar, with a neat balance kept between levity and intensity.“
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„Keenlyside’s phrasing is extremely individual: his legato is not especially fluid, nor is his tone particularly beguiling, but he phrases the lines so that they appear to be delivered as if to the individual listener rather than some general audience body, and his love for this music is so transparently obvious that one cannot help but find his singing deeply engaging.“
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„Ständchen competed the first half, in a lovely, ardent performance of real tenderness, with none of the hectoring quality into which many singers can lapse, and with just the right sense of pleading at ‘Komm, beglücke mich.’ No shortage of takers, I’m sure.“
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„An enthusiastic audience were rewarded with two encores, Schubert’s adorable ‘L’incanto degli occhi’ and Wolf’s ‘Fussreise,’ both sung and played with the same loving skill which characterized this recital.“