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Recital

22 January 2007

Teatro de la Zarzuela, Madrid

Simon Keenlyside

Julius Drake

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

La Razón (Gonzalo Alonso)

http://www.larazon.es/noticias/noti_esp12299.htm

Translated by Ursula Turecek

Keenlyside, unbridled

Simon Keenlyside had left a very good memory of his guest performance as Pelleas at the Real and there were expectations to know if he could achieve the same level in a song recital. The answer is no, but almost.

The best thing is his voice, extensive in volume, homogeneous in low and high notes. Here is a baritone with low notes and heights that are more difficult to find with every new day, although we have heard warmer timbres. His is a good stage presence, but his nervousness impairs some interpretations. What is less good is his style because the songs by Brahms or Strauss cannot be sung as if they were an occasion to show your vocal means because they are not. Some pieces written for soprano sound somewhat strange in the baritone register.

He was more focussed in style in the Russian section by Rimsky-Korsakov and Rachmaninov, but above all in the French repertory, with an exquisite diction of Ravel’s songs “Don Quichotte a Dulcinee”. The encores by Schubert achieved a very good level for they brought the sounds of the taverns where they originated [?]. Julius Drake accompanied this recital discreetly so that you left satisfied after having heard an ingenuous baritone.