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Simon Keenlyside © Uwe Arens

Simon Keenlyside, Bariton

Tuesday 29 March 2022
19:30
Mozart-Saal

Tickets for members from 1 February, for the general public from 8 February, 2022

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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)

Subscription series Lied

Links http://martineau.info
http://www.simonkeenlyside.info

Presented by Wiener Konzerthausgesellschaft

Lively interpretations

»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.

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