COC Vocal Series: Gordon Bintner, bass-baritone; Andrew Haji, tenor; Jennifer Szeto and Liz Upchurch, piano. January 19. Richard Bradshaw Amphitheatre.
What a terrific start to the 2016 Vocal Series at the Richard Bradshaw Amphitheatre on January 19th. Two of Canada’s finest young singers gave one of the most satisfying recitals I’ve attended in recent memory. While it was sad that Charles Sy, the originally scheduled tenor from the COC Ensemble Studio was announced as indisposed and unable to perform, his colleague tenor Andrew Haji deputized wonderfully with the three Petrarch songs by Franz Liszt.
These songs represent Liszt at his most melodically – and operatically – inspired. While he only composed two operas, long forgotten – Don Sanche and the unfinished Sardanapale, he penned many marvelous piano transcriptions of popular operas of his time. Many of his songs have strong operatic flavour, like these three composed between 1938 and 1842. Based on three sonnets by Petrarch (1304-74), these ultra-romantic songs tell of his love for a woman called Laura. Originally scored for high voice, Liszt also wrote piano transcriptions of these songs as well as a baritone version later on. Today, these songs are staples of the recital repertoire. The vocal demands of these pieces are substantial – the requisite warm and sensuous tone, but, even more daunting, is a firm and secure high register. The high voice version taxes the top of a tenor’s range, going up to a high D-flat.
Mr. Haji met all the requirements of these songs brilliantly. I’ve followed his career since his early days at the University of Toronto Opera program. I recall being impressed with his Rob Ford, the Opera. After joining the COC Ensemble Studio, he continued to impress – a fine Ferrando in the Ensemble Cosi, various concerts and recitals, and last fall, a stunning Alfredo in a mainstage La traviata. In the past year or so, he has done more work on his top, and it is now freer and more secure than ever. Not many tenors can access the top up to a high D-flat at all, and even fewer with his ease. These three songs are studded with high notes, and everything was dispatched with grace by Haji. He’s also an ardent interpreter of the drama, with excellent attention to textual nuances. Pianist Jennifer Szeto was as ever the attentive and supportive partner. She also wore a stunning concert gown that will turn heads at their upcoming Carnegie Hall appearance with this program.
If this was a hard act to follow, we needn’t have worried. Bass-baritone Gordon Bintner is one of the best young singers Canada has to offer, combining a wonderful voice, the requisite musicality and handsome stage presence. If memory serves, I first heard him when he appeared in one of those joint recitals between the COC Ensemble Studio and the Atelier Lyrique of Montreal. He was already very impressive at the time. A win at the COC Ensemble Competition secured him a spot in the program. Now three years later, he has developed into a complete artist, with all the tools necessary to forge a career on the international level. He spoke briefly to the audience, announcing that this recital would be his Schwanengesang, expressing his thanks to the COC and the audience for their support – very nicely done!
He sang Schumann’s Liederkreis, Op. 24, set to poems by Heine, one of two Schumann cycles by the same name, the other being Op. 39, set to poems by Eichendorff. The cycle was composed in 1840, around the same time as Liszt’s Petrarch songs. This was Schumann’s ‘song year’ before his bipolar disorder put him into a tailspin. I have to say I am more familiar with the Op. 39, but it’s nice to hear Op. 24 sung as beautifully as by Mr. Bintner. His manly, robust yet refined tone, fine dramatic instincts, sensitive interpretation of the text were very much in evidence. It ended with the beautiful “Mit Myrten und Rosen,” a very lovely song sung with great feeling by Bintner. He began a little tentatively but warmed up quickly. For a bass-baritone, he has an easy top, which explains why he’s singing the Count (a lyric baritone role) in the COC Ensemble Nozze next month. His German diction was impeccable, and his expression heart-felt. Occasionally his body movements could be a bit distracting, but I’d take that rather than someone singing totally unmovingly like a stone – and I’ve seen plenty of those over the years!
Through it all, Liz Upchurch, the head of the COC Ensemble, offered unwavering support, taking her time for an expansive reading of this lovely cycle. Too bad there were some extraneous noises from the audience throughout the performance of both singers, but kudos to both of them for maintaining their composure.
Even though it was announced as Bintner’s farewell, you can still catch him as the Count in the Ensemble show of Le nozze di Figaro on Feb. 22. Andrew Haji will join three other Ensemble Studio tenors on March 29, noon at the Richard Bradshaw Amphitheatre, for Four Tenors. And of course he will be back next season as Tamino in Die Zauberflöte.
#LUDWIGVAN
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