Bryn Terfel at the Ordway with the Schubert Club

(Originally posted on Minnesota Theater Love)

Bryn Terfel - a bass-baritone with world-wide renown, sang a recital last night at the Ordway Music Hall. This was part of the 2015-2016 Schubert Club International Artist Series, and it was beautiful. Terfel sang with piano accompaniment played by Natalia Katyukova, and the pairing was magical. It was clear that they had a strong working relationship with much respect for each other. Terfel made certain that she received her due, and her share of applause - even giving her a final solo bow at the end of the night. He made mention that he just sang Mussorgsky's Boris Godunov and that he wouldn't have been able to do it without her help. In the middle of a collection of songs by Schubert, he spoke to let us know that the piece he just sang was in E-flat Major, implying that it was very difficult piano part....again, giving Natalia her credit.

The program was not what I expected. Terfel is know world-wide for his various roles on stage. I recently watched him play Wotan in the Met's production of the Ring Cycle. Imagine my surprise when I found out his program would contain songs in Welsh, English Ballads, Schumann, and Schubert. Of course, knowing he is Welsh made me look forward to hearing him sing in his native tongue - and by the end of the night I was totally satisfied and happy. The program started with Cân yr Arad Goch (Song of the Plow) by Idris Lewis. This was followed by three more songs in Welsh. Gwynfyd (Paradise) and Y Cymro (The Welshman) were by Meirion Williams. Between these was Sul y blodau (Palm Sunday) by Owen Williams. The program was filled with enlightening notes and information about the composers and lyricists, along with history and translation of lyrics. Paradise and Palm Sunday were gorgeous. It amazed me to hear his sing so softly and gently in the upper sections of his range - and yet still hear him up in the balcony. I love moments like that when the whole audience is absolutely still and quiet, just listening. After this selection of Welsh songs, he went on to sing Three Salt-water Ballads by Frederick Keel. These were in English and were lovely. The last ballad was called Mother Carey - a warning song about the mother of the sea witches and her man Davy Jones!

The next section were songs by Jacques Ibert - Chanson de Don Quichotte. These songs were written for the film Don Quichotte directed by G.W. Papst. Originally released in 1933, it starred the Russian bass Feodor Chaliapin...who is also known as one of the best Godunov's. Before going into this song cycle, Terfel asked the audience to hold their applause till the end. (extended side note: Up until this point there was applause after every song...which is a bit odd considering the audience, and that the recital is part of the Schubert Club. My companion (Carly) and I both assumed the audience would know to wait for the end of a series of songs. Then again, the first few songs were not really part of a larger cycle so I guess it made sense to applaud.) The interesting thing about this series of songs is that during production, five composers were commissioned to write songs. Out of those five composers (Ravel, Falla, and Milhaud included) Ibert was selected. The texts were not from Cervantes but from two other authors....and in French. They were beautiful. Terfel finished the first half of his program with a Medley of Welsh Folk Songs arranged by Bryan Davies. Again these were beautiful to listen to and the lyrics were simply charming. Terfel, as a performer, didn't move much. He mainly stood near the curve of the grand piano, one hand at his side, the other resting on the piano. At times, especially during the folk songs, he would gesture simply but for the most part the focus was on him, his voice, and his presence. He was dressed in the standard black suit that most male singers use, except he had an open collar, and the jacket was frock-coat length. He looked dashing and handsome...even from the balcony.

After a short intermission, we returned for some songs in German. I noticed towards the end of the night that lyrically the songs had a similar sound. There are sounds in German that sound like Welsh, and there are sounds in Welsh that sound French so the whole evening had a similar linguistic sound...and it was a lovely sound. The second half started with Robert Schumann's Belsatzar. This song tells the story of Belshazzar's feast from the 5th chapter of Daniel in the Bible. While sung in German, it was clear what was happening in the story. Terfel's expression combined with the music was perfection. During the applause, he waved his hands a bit to show that he wasn't as happy about his performance, but the audience certainly was. He followed that with Two Venetian Airs - also by Schumann. These two songs are part of a larger song-cyle of 26 songs called "Myrthen." The music and lyrics evoked Venice and romance so well.

The last set of songs were by Franz Schubert. Terfel started with Scenes from Hades. A great song about the giants that are doomed in Tartarus - which is below Hades. He followed that with one of three songs from Schwanengesang - swan song.  This collection of songs were the last that Schubert wrote and they are sweet, romantic, melancholy...all the things that Schubert often is. From that collection Terfel sang Love's Message, which he followed with The Fishermaiden, and finished the section with The Pigeon Post. Before singing The Pigeon Post, he sang a gorgeous song named To be Sung on the Water. It was a beautiful way to end the recital.

Of course, he received a standing ovation and came on for an encore. He spoke earlier about the first song he ever learned (the first song he sang at the recital) and before he started his encore he talked a bit about the song he was going to sing and how in the score he learned if from it stated that it was dedicated to John Charles Thomas. He then sang The Lord's Prayer by Albert Hay Malotte. He gave more information about John Charles and how he earned a lot and yet was broke by the Great Depression. He then said that he would sing a song that John Charles would sing often, and he hoped we would sing along. He broke into Home on the Range - to the chuckles of a few and everyone joined in.  While listening to the second and third verse, you realize what a sweet song it is. He than finished with a song by Wolseley Charles - The Green Eyed Dragon. A very upbeat and funny tune that he gave such charm to.

He left, then came on for two more songs - a second encore. The first was Mack the Knife by Kurt Weill. I realize that this is also one of the songs on a recent album of his called "Bad Boys." He also sang another Schubert work Litanei auf das Fest Aller Seelen. This was another beautiful, slow, melancholy song - a prayer for the Feast of Saints, I believe. He left the stage, came on for another bow, was presented flowers (as was Natalia) and then left. The applause continued and he came back on for a third encore. This was something unexpected. Especially as he finished the evening with If I Were a Rich Man from Fiddler on the Roof...and not just the song but the whole monologue that precedes it! Needless to say, it was fantastic! It ended the night on an upbeat note, seeing him scatter feed to imaginary chickens, imitating their clucks, and really performing the number instead of just singing it. It made it very clear why he is so fantastic on the Opera stage, and even a few Symphony stages playing Sweeney Todd. It was a beautiful night of gorgeous music and one of the most incredible voices.