BBC Cardiff Singer of the World, 13/06/2023

Main Prize - Concert 3

WNO Orchestra

Michael Christie

Beomjin Angelo Kim, tenor (32, South Korea)

Mozart : "Dies Bildnis ist bezaubernd schön" (Die Zauberflöte)

Cilea : "È la solita storia... Anch'io vorrei" (L'arlesiana)

Donizetti : "Povero Ernesto... Cercherò lontana terra" (Don Pasquale)

Both of the South Korean tenors competing this year opened with Tamino's aria, and both provided stylish readings of it, but this Kim is a bit more restrained in style than his compatriot (also Kim).  The Cilea showed some nice dynamic control, but I will never approve of that extraneous top note thrown in at the end.  By the time he had started on the aria from Don Pasquale, the problem was clear, the whole programme was much of a muchness, lacking in diversity, and limited in expression.  Nice singing, but by the end of his twenty minutes, a little boring.

Johanna Wallroth, soprano (29, Sweden)

Rameau : "Aux langueurs d'Apollon" (Platée)

Mozart : "Giunse alfin il momento... Deh vieni, non tardar" (Le nozze di Figaro)

Stravinsky : "No word from Tom... I go to him" (The Rake's Progress)

I had mentioned Wallroth was a little stiff in her recital on Saturday; tonight she was visibly more at ease on the platform.  Contrarily, though, I found her a bit less expressive.  Again, the indistinguishable French undermined her Rameau aria to a degree - though, to be fair, there are only three lines of text, and a lot of ornamentation - but listening to it again from the television broadcast, which has subtitles and is closely miked, she became clearer.  The Mozart was disappointing, lacking the subtlety of Suzanna teasing the hidden, but listening Figaro, with an aria of delicate sensuality that seems to be addressed to a lover, but is, in fact, addressed to her husband.  Anne's aria from The Rake's Progress was better, fresh and bright and well-projected, with a sure top C to conclude.

Huhegala, baritone (31, China)

Verdi : "Son pur queste mie membra!... Dio di Giuda!... O prodi miei" (Nabucco)

Puccini : "Minnie, dalla mia casa son partito" (La fanciulla del West)

Wagner : "O du mein holder Abendstern" (Tannhaüser)

Huhegala launched into Nabucco's big Act 4 scene with vigour and a good, forthright tone.  The slower aria section was suitably plangent, but the cabaletta, although purposeful and energetic, revealed that he was a little underpowered when faced with the full orchestra.  The TV broadcast masked this a little, but there was no mistaking it in the hall.  Still, it was an exciting number, which was rather more than could be said for the Puccini.  Fanciulla is not known for its solo numbers, more for its ensembles, and this particular aria doesn't stand out a great deal save for its conclusion.  Huhegala was not able to give it relief and colour, and bring it to life.  Similarly with the Wagner, although it was nicely enough sung, he did not get beyond a smooth and glossy surface, and that is something we have all heard before many times over.

Siphokazi Molteno, mezzo-soprano (31, South Africa)

Handel : "Svegliatevi nel core" (Giulio Cesare)

Mozart : "Smanie implacabile" (Così fan tutte)

Gounod : "Où suis-je?... Ô ma lyre immortelle" (Sapho)

Barber : "Must the winter come so soon?" (Vanessa)

I am the last person to assess a Handel aria, especially one I don't know at all, but the projection of the character was strong, and the ornamentation well managed.  Similarly with Dorabella's first aria, though I would have liked to see a little more histrionics - Dorabella is throwing a tantrum, basically, at this point, and should be seen as just a little ridiculous, with her extravagant proclamations and palpitating rhythms.  The other thing that struck me in both these arias was that I would have liked the voice to have a little more metal to it, it seemed a little soft-grained, but that is very much a personal preference.  She made a little faux pas with her programme next, because the following two numbers really should have been inverted.  After Dorabella's hysterics, Erica's calm melancholy would have been a nice contrast, and then Molteno could have finished with the Gounod, which builds to a showstopper.  Instead, the Barber was very nicely sung, but our ears were still ringing with Sapho's passionate despair, wholeheartedly delivered by Molteno, and the Barber was definitely overshadowed.  

The Round Winner was Siphokazi Molteno.

[Next : 14th June]