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2018.10.10 – Recital, Palau de la Música Catalana, Barcelona


10 October 2018, 20.00 hrs

Palau de la Música Catalana, Barcelona

Concert Hall

In collaboration with the Lied Festival Victoria de los Ángeles (LIFE Victoria)

Simon Keenlyside, baritone

Malcolm Martineau, piano



Johannes Brahms (1833-1897)

Nachtigallen schwingen
Über die Heide
O kühler Wald
Es schauen die Blumen

Francis Poulenc (1899-1963)

Quatre poèmes de Guillaume Apollinaire:
I. L’anguille
II. Carte postale
III. Avant le cinéma
IV. 1904

Suite française, FP 80 (piano solo)

II. Pavane

Maurice Ravel (1875-1837)

Histoires naturelles, M. 50
I. Le paon
II. Le grillon
III. Le cygne
IV. Le martin-pêcheur
V. La pintade


Francis Poulenc

Le travail du peintre, FP 161 13’
I. Pablo Picasso
II. Marc Chagall
III. Georges Braque
IV. Juan Gris
V. Paul Klee
VI. Joan Miró
VII. Jacques Villon

Franz Schubert (1797-1828) 

Ständchen (Horch, Horch, die Lerch)  D889
An die Leier
An den Mond in einer Herbstnacht


Schubert:   Heidenröslein

Schubert:   Ständchen  D957/4

Fauré:         Le papillon et la fleur

This concert will be broadcast on radio station Catalunya Música on Friday 22 March at 16.00 hrs Spanish time

This concert will be broadcast on radio station RTE lyric fm on Monday 08 July in The Full Score with Liz Nolan at 1-4pm

This concert will be broadcast on BBC Radio 3 “Through the Night” on Friday 06 September 2019 at 12.30 am

This concert will be broadcast on BBC Radio 3 “Through the Night” on Friday 21 February 2020 at 12.20 am

Photo Gallery

Our thanks to Marc Busquets of the Lied Festival Victoria de los Ángeles (LIFE Victoria) and the photographers Elisenda Canals (LIFE) and Antoni Bofill (Palau de la Música Catalana) for permission to reproduce the photos included in the gallery below.

Sound bites

ElPeriodico, 12.10.18, Pablo Meléndez-Haddad

Translation to follow

“Torbellino Keenlyside”

“Whirlwind Keenlyside”


Platea Magazine, 12.10.18, Antoni Colomer

Translated by Gudrun

“… There are two things that first catch your attention concerning Keenlyside the lieder singer: the beautiful timbre of his lyrical but powerful baritone voice which is produced with an  amazing naturalness – and a strange body language that, until one gets used to it and until the singer is relaxing, is an element of considerable distraction.

The section dedicated to Brahms, body language aside, seemed the least perfected part of the entire programme. The singer placed a discreet music stand for support and often looked at the score, offering flashes of class, with an always impeccable line. Keenlyside’s technique is outstanding in the beauty of covering when passing from the middle to the high register. He does that with great perfection and it gives his voice a warm and mellifluous quality and a most beautiful colour. He showed it in some of the Brahms pieces and in the first cycle of Poulenc, Quatre poèmes de Guillaume Apollinaire, in which he confirmed his natural affinity with the French language and music.

… But the best was still to come and without doubt it began with Ravel’s “Histoires naturelles” which connect with Poulenc’s personality through their humoristic tone. Here, Keenlyside’s work was filigree. The theatrical component of the work fits him like a glove and the strange body language disappears to become an endearing fragility. Also, the naturalness of his singing is perfect for Ravel’s cycle. Martineau, always in the background, was a good collaborator, well co-ordinated with the singer.

The tone was maintained at the beginning of the second part with a sensational “Travaille du peintre”- a marvellous piece, where all the vocal and interpretative virtues mentioned before were combined with a more involved piano. Undoubtedly the highlight of a great recital that ended with a block dedicated to Schubert in which such well-known songs as Liebesbotschaft or Abschied alternated with rarities such as Alinde, where Keenlyside was seen looking closer at the score again.

But at that point the dice was cast and the baritone, who seems to be able to do everything (with his voice) and, apparently, everything well, had the audience of the Palau at his feet…..”


Revista Musical Catalana, 16.10.18,  Lluís Trullén


Jorge Binaghi, mundoclasico.com, October 2018

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