Arias in the Afternoon
New Town Church, Edinburgh, 10/8/24
Brian Bannatyne-Scott, bass, James Atkinson, baritone, Cath erine Backhouse, mezzo, Laurie Slavin, tenor, Caroline Taylor, soprano, Michal Gajzler, piano
In this elegant oval space the light alternates between shy sunrays at the west windows and the chandelier’s glow when invisible clouds pass. A welcome sprinkling of younger faces among the grey heads usual at a classical music event. The programme amounts to a history of opera across three centuries. But the real promise is of a display of wonderful singers, from the up-and-coming to the established senior.
We launch without comment into a Handel solo from ‘Acis & Galatea’. Michal Gajzler’s piano reflects the words “Love warbling in her breath”, though Laurie Slavin’s powerful voice misses that gentleness. Next from the same opera, ‘Happy We’, a duet with soprano Caroline Taylor. She transmits the natural joy of love but again Mr Slavin seems over-assertive. The “We” is lost.
Then from Saint-Saens ‘Samson & Delila’. Mezzo Catherine Backhouse penetrates smoothly in the high notes, in the lower register flavoured with chocolate or molasses. As she sings ‘Mon Coeur s’ouvre’ my own heart opens; this song I’m really loving.
Brian introduces Wolfram’s aria from Wagner’s ‘Tannhäuser’, an early work, which baritone James Atkinson sings in a transcendent stillness befitting its slow mystery. A few simple hand movements bring the story home to us. Wagner is far from my favourite composer; this performance makes me wonder if I’ve been missing something.
Brian then comes forward with Ms Backhouse for a second helping of Wagner: ‘Der alte Sturm’ from ‘Die Walküre’. Not so much a duet as a dialogue. She is in a state of superhuman anger, he is trying to respond. She delivers one strong note of high drama after another, his bass line is closer to recitative. Both sing with admirable precision but this lengthy piece doesn’t engage me. My tentative vote for Wagner is withdrawn.
On to Puccini: ‘Signore ascolta’ from Turandot. Caroline Taylor brings out all the lyricism, her high notes a joy. All too soon we move on: a duet from Verdi’s ‘Don Carlo’. Tenor and baritone bring the rich texture to the resounding finish, a cry for “Libertá!”
Something much darker follows: from Britten’s ‘Billy Budd’, Claggart’s resentment of beautiful, innocent Billy Budd leads to murderous intent. Brian takes us down this twisted alleyway with expressive intensity. We believe him as he concludes “I will destroy you”.
A Mozart duet follows, from the teasing deceptions of ‘Cosi fan Tutte’. The grace of the music with the performers’ smiles come as welcome relief. The legend runs that singing Mozart heals the voice: Ms Backhouse and Ms Taylor could be gargling with warm honey. In a second Mozart, this one from ‘Die Entführung’, Caroline shows that honey can flow just as well in German. I’d be happy for her coloratura “Ah-aaa-aaaa” to go on all afternoon.
Lastly back to the male world: ‘Suoni la Tromba’ from Bellini’s ‘I Puritani’. The sentiment may be naïve but it’s a joy to hear. James and Brian give us a military send-off, recalling the days when going off to war seemed a fine thing.
All in all, a diverse programme served with artistry, inviting us to share in the musicians’ delight.
