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Recital

19 January 2007

The Mozartsaal at the Konzerthaus, Vienna

Simon Keenlyside

Julius Drake

 

Photo from http://www.juliusdrake.com/main.php?rubrik=10

This was broadcast on 25 January 2007 on the Radio channel, OE1 (ORF).

Programme

Johannes Brahms

·        Auf dem Kirchhofe op. 105/4 

·        Meerfahrt

·        Der Nachtwandler op. 86/3

·        Wir Wandelten

·        Es schauen die Blumen op. 96/3 

·        Ständchen op. 106/1 «Der Mond steht über dem Berge» 

Nikolai Rimski-Korsakov

·        Plenivshis' rozoy, solovey / Rose und Nachtigall / Eastern Song: Enslaved by the rose and the nightingale Op. 2 No. 2

Sergej Rachmaninov

·        Khristos voskres / Christus ist auferstanden /Christ is risen Op. 26 No. 6

·        Ona, kak polden', khorosha /So schön wie der Mittag /She is as Lovely as the Noon Op. 14 No. 9

·        Rechnaja lileja / Flußlilie / The Waterlily Op. 8 No. 1 (Six songs)

·        Son / Traum A Dream Op. 38 No. 5 (Six songs)

Richard Strauss

·        Ständchen op. 17/2 

·        All' mein Gedanken op. 21/1

·        Das Rosenband op. 36/1

·        Hochzeitlich Lied op. 37/6 

·        Cäcilie op. 27/2 

****** Interval ******

Francis Poulenc

·        Le travail du peintre S 161 

Pablo Picasso

Marc Chagall

Georges Braque

Juan Gris

Paul Klee

Joan Miro

Jacques Villon

Claude Debussy

·        Beau soir 

·        Romance: Voici que le printemps 

·        Mandoline 

Francis Poulenc

·        Montparnasse S 127 

·        Carte postale S 58/2 (Quatre poémes de Guillaume Apollinaire)

·        Avant le cinéma S 58/3 (Quatre poémes de Guillaume Apollinaire)

·        1904 S 58/4 (Quatre poémes de Guillaume Apollinaire) 

Maurice Ravel

·        Don Quichotte à Dulcinée 

Chanson romanesque

Chanson epique

Chanson a boire

****** Encores ******

Franz Schubert

·        Der Wanderer an den Mond D870 (op 80,1)

·        Die Sterne D939 (op 96,1)

·        Rastlose Liebe D138 (op 5,1)

·        L'incanto degli occhi D 902/1 (op 83, 1 of 3 songs) 

 

What the critics say

Die Presse (extract), 22 January 2007

http://www.diepresse.com/Artikel.aspx?channel=k&ressort=ke&id=612771

Translated by Ursula Turecek

While Simon Keenlyside amused himself at the Philharmonikerball, his pianist had to work hard: Julius Drake was at the Theater an der Wien with US-countertenor Bejun Mehta on Thursday, at a recital with Mozart and Schubert among others.....

....The next day Keenlyside had already recovered from the ball and Drake – an extremely sensitive accompanist – sat at the piano again. At the Konzerthaus, on a musical journey round the world – on a German graveyard (Brahms), across the sea (Brahms “Meerfahrt”) to Russia (Rimsky-Korsakov, Rachmaninov), to French painters (Poulenc’s “Le travail du peintre”), into a Spanish dive (Ravel’s drinking song from “Don Quichotte a Dulcinée”). Without difficulty the English baritone coped with so many styles and so many languages (he sang everything by heart), with technical perfection and much esprit – he made up with vivacity and wit for what he sometimes lacked in deep notes. And with a beautiful, clear timbre. The enthused audience called for four encores.

 

Wiener Zeitung, 23. 1. 2007 (dawa)

http://www.wienerzeitung.at/DesktopDefault.aspx?TabID=3903&Alias=wzo&cob=266912&currentpage=0

Translated by Ursula Turecek

Because he can do it

Simon Keenlyside wanted to impress the audience at all costs: “Look at what I can do!”. The programme and performance were by every means impressive, hits by Brahms like “Meerfahrt” or “Nachtwandler” were not absent and neither were Rimsky-Korsakov (“Rose and Nightingale”), Rachmaninov’s Easter praise “Khristos voskres” and Richard Strauss with his “Ständchen”. His expression did not fall short either, his interpretations convinced with a fascinating breadth of dynamism. He had skilful support by Julius Drake at the piano, a technically faultless and unpretentious accompaniment with emotions at the right moment. The only drawback: You looked in vain for low notes in Keenlyside, although his excellent knowledge of foreign languages made you forget this. Above all I’d like to see anyone better his articulate French – the audience could assure itself amply of this with Poulenc’s diverse “Le travail du peintre”, Ravel’s intense “Don Quichotte” or Debussy’s humorous “Mandoline”.