Performers
Simon Keenlyside, Bariton
Malcolm Martineau, Klavier
Programme
Henry Purcell
Let the dreadful engines (Bearbeitung: Benjamin Britten)
Gerald Raphael Finzi
O mistress mine op. 18/4 (Let us garlands bring)
Ralph Vaughan Williams
Love bade me welcome (Five mystical songs Nr. 3) (1906–1911)
The call (Five mystical songs Nr. 4) (1911)
Antiphon (Five mystial songs Nr. 5) (1906–1911)
Gabriel Fauré
Madrigal de Shylock op. 57/2 (1889)
Aubade op. 6/1 (1873 ca.)
Green op. 58/3 (Cinq mélodies de Venise) (1891)
Le secret op. 23/3 (1880–1881)
Maurice Ravel
Chanson romantique (Don Quichotte à Dulcinée Nr. 1) (1932–1933)
Chanson épique (Don Quichotte à Dulcinée Nr. 2) (1932–1933)
Chanson à boire (Don Quichotte à Dulcinée Nr. 3) (1932–1933)
***
Richard Strauss
Hymnus op. 33/3 (1896)
Sehnsucht op. 32/2 (1896)
Wasserrose op. 22/4 (Mädchenblumen) (1886–1888)
Des Dichters Abendgang op. 47/2 (1900)
Franz Schubert
Verklärung D 59 »Lebensfunke, vom Himmel entglüht« (1813)
Auf der Donau D 553 (1817)
Geheimes D 719 (1821)
Blondel zu Marien D 626 (1818)
Im Walde D 708 »Waldesnacht« (1820)
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Zugabe:
Richard Strauss
Traum durch die Dämmerung op. 29/1 (1894–1895)
Francis Poulenc
Carte postale S 58/2 (Quatre poémes de Guillaume Apollinaire) (1931)
Franz Schubert
Im Abendrot D 799 (1824–1825)
Note
Ersatztermin für den 29. März 2022
Subscription series
Lied
Links
http://martineau.info
http://www.simonkeenlyside.info
»His trump card is a baritone of remarkable musicality, flexible at all times, rich in color and capable of the most delicate nuances. [...] His velvety timbre and expressive phrasing open up the song miniatures with such plasticity that one can only admire the voice's gesture, which is as simple as it is theatrical,« is how Crescendo magazine judges Simon Keenlyside. The English star baritone, who was recently awarded the title »Sir« by the British royal family, is known for his intelligent interpretations. Keenlyside believes that most songs have not only a double meaning in music and lyrics, but often three to five different levels of meaning, all of which are impossible to present simultaneously. But because each interpretation taps into a different story, the melody remains alive for both singer and audience.