Originally posted by Simon Biazeck
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Fascinating stuff Simon. By "previous", how far back are you going? Sutherland, Horne and Cotrubas were all pretty demanding on the technical front when they were on the CSOTW jury, I wonder what their verdicts would have been? They used to do masterclasses during the competition as well, which were televised, giving us deeper insights. -
The audience picked the real winner imv, Mr Enkhbat was in a class of his own. The others were all very good indeed but not as good as him.Comment
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Anyone got a link? I didn't listen much and I missed him.Comment
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The only performance I came close to enjoying was the eventual winner when she sang a Rachmaninov aria from Francesca, but that was mainly due to discovering the piece.
I found what I heard of the Song prize performances especially unimpressive. I thought different singers tended to progress in that part of the competition? It was more or less the same gang as the opera singers, wasn't it?"...the isle is full of noises,
Sounds and sweet airs, that give delight and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears, and sometime voices..."
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From the Queen of the Night to Ice in the Sun. In Search of the Fourth Chord The Opera!Originally posted by DracoM View PostComment
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I doubt it, but I can certainly muddy the waters further!Originally posted by DracoM View Post
Opera as dressage - beautiful, perfect, prancing horses. I deplore it. Although, of course, as a professional opera singer I can appreciate the sheer technical brilliance of a performance, provided it has some emotional depth. With Jongmin Park and Amartuvshin Enkhbat we had that depth provided in truck loads, and by different means; very old school in the former case, and honest engagement with the text and solid technique from the former, whether or not he is actually a bass. Enkhbat's stage presence was one dimensional, certainly, but the voice wasn't and its deployment was anything but - one in a million! When Koutcher won we saw the emotion, and as I have said, her voice is very fine, but was not, under pressure, technically perfect last night. The last note of the Bell aria (ridiculous nonsense for my taste), and less than accurate coloratura in the Mozart being the sore points.
They will all have brilliant careers - they have earned it, and I understand the final decision was a difficult one to make with possible reservations about experience and fach, but I really feel it was the wrong one.
Having said all that - very exciting, inspiring and challenging!Comment
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As I read it again, it is a little strong! I agree, Sutherland et al would not have let the technical deficiencies pass. I sang a Mozart Req. solo in front of Sutherland some time ago in the Sydney Opera House Concert Hall, and she was quite candid with her comments, which were surprisingly complimentary, but straight to the point!Originally posted by Richard Tarleton View PostComment
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It's not the first time the Cardiff Jury have chosen an unexceptional but polished singer over a more talented, but perhaps less polished (or more niche) alternative.Originally posted by Simon Biazeck View Post
In 2009, the Jury chose an attractive Russian soprano, Ekaterina Shcherbachenko, who had already sung major roles at the Bolshoi. She was generally tasetful and certainly marketable, although notably came to grief with her attempt at Anne Trulove's aria from the Rake's Progress. However, the best singer in the competition and on the night was a countertenor, Yuriy Minenko, who sang exquisitely (and with much greater technical prowess).
It was rumoured afterwards that he didn't win because some members of the Jury thought his voice type and repertoire were too specialised, and that the decision had split the Jury. At least one member was said to be furious about the decision."I do not approve of anything that tampers with natural ignorance. Ignorance is like a delicate exotic fruit; touch it and the bloom is gone. The whole theory of modern education is radically unsound. Fortunately in England, at any rate, education produces no effect whatsoever. If it did, it would prove a serious danger to the upper classes, and probably lead to acts of violence in Grosvenor Square."
Lady Bracknell The importance of Being EarnestComment
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As R3 keeps on telling us, Classical Voices are in Season. Perhaps time to Pick Your Own?[FONT=Comic Sans MS][I][B]Numquam Satis![/B][/I][/FONT]Comment
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The Cardiff audience certainly did, and they made the right choice, in my view!Originally posted by ferneyhoughgeliebte View PostComment
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Better not suggest the Cats' Duet - or Duel. Welcome to the forum, peterkinOriginally posted by peterkin View Post
It isn't given us to know those rare moments when people are wide open and the lightest touch can wither or heal. A moment too late and we can never reach them any more in this world.Comment
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What worried me about Enkhbat was that his stage presence, in the final at least, was zero-dimesional! He was addressing the Evening Star: did he seem to be singing in any particular direction where it was shining from? No! Most of the time he had his eyes shut - a superb way to fail to draw in an audience.Originally posted by Simon Biazeck View Post
OK. I think we were told he had learned his arias for the final in a hurry, but such a lack of physical imagination and projection! The same went for the other arias, especially the Ballo one where he was addressing a new enemy (whether in the flesh or his imagination I'd need to check). Did he persuade us that such a figure was vividly present to himself? Not at all.
I really wasn't at all sure that he knew the first thing about acting, and that really is important! (IMHO anyway, unless he's just going to do broadcasts and CDs...
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I keep hitting the Escape key, but I'm still here!Comment
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My feelings were similar to Chris Maltman's when asked in his BBC pundit's chair who he thought was going to win - something like, I'd love it to be Nadine Koutcher, but I think it will be Artuvshin Enkhbat. For me, Nadine didn't fully convince but she had something special which the jury must also have noted. I may have been irrationally swayed by her choice of Marfa's dream from Tsar's Bride which I have a massive soft spot for. I loved it when she was genuinely gob-smacked to win. In general, I preferred the Song Prize section without all the pizazz and daft interviews.Comment
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Thankfully, it's still the voice that matters in opera casting, so his (apparent) lack of aptitude on that front will not prevent him getting work in A houses, where he will get the best (or worst!) coaching for his acting. Real Verdi baritones are gold dust and only a fool would avoid him. He drew in the audience, and was awarded their special vote, because they recognize a great voice when they hear it... LIVE!Originally posted by LeMartinPecheur View PostWhat worried me about Enkhbat was that his stage presence, in the final at least, was zero-dimesional! He was addressing the Evening Star: did he seem to be singing in any particular direction where it was shining from? No! Most of the time he had his eyes shut - a superb way to fail to draw in an audience.
OK. I think we were told he had learned his arias for the final in a hurry, but such a lack of physical imagination and projection! The same went for the other arias, especially the Ballo one where he was addressing a new enemy (whether in the flesh or his imagination I'd need to check). Did he persuade us that such a figure was vividly present to himself? Not at all.
I really wasn't at all sure that he knew the first thing about acting, and that really is important! (IMHO anyway, unless he's just going to do broadcasts and CDs...)Comment
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