Munich Opera Festival 2019

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The Munich Opera Festival, founded in 1875, is like no other in the world. Several productions from the regular season return for a couple of added performances, featuring many of opera’s greatest stars. The fabulous 2019 season runs from 27th June – 31st July. Tickets are on sale from 1st February so be sure to contact us soon.

The wonderful Welsh baritone Sir Bryn Terfel is accompanied by seasoned pianist Martineau for this concert at the National Theatre on 11th July at 8pm.



https://showcaseoperaandeventsblog.wordpress.com/2019/01/15/munich-opera-festival-2019/
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Björg

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Google Translate:
Matthias Schloderer: An absolute hero of my musical beginnings.
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Björg

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Google Translate:
Süddeutsche.de 12. Juli 2019
Helmut Mauró

One would not have guessed that this powerful Welsh bassist is capable of such subtle lyrical overtones, and that in the end he even runs into great show form with his devil's aria from Boito's "Mefistofele". Bryn Terfel revealed at his festival song recital at the Bavarian State Opera, a wide range of vocal and dramatic facets, from the lyrical Mezza Voce to the massive opera tube. And brought the English and Welsh composers John Ireland, Roger Quilter, William Stanley Gwynn Williams and Owen Williams close to the enthusiastic audience. Even Ralph Vaughan Williams - the aforementioned are not related - did not appear here as usual with large-scale symphonic, but with four precious items from the song cycle "The Songs Of Travel" for poems by the Treasure Island author Robert Louis Stevenson. When one saw Bryn Terfel in his great operatic roles, such as godfather Wotan in Wagner's "Ring", one was surprised how carefully this vocal elemental force felt in the late Romantic English-Welsh song art. In this country, one can indeed get the impression that the art song is something genuinely German, while it is probably the most inclusive genre of all. In the English songs one can experience, for example, how closely text and sound can be connected, how much not only does the lyric become absorbed in the music, but conversely that the music sneaks and creeps into the text over and over again, like moods and fan out the metaphors without overwhelming them. This is often different in the German song. In the songs of Johannes Brahms in the second part of the evening, the piano accompaniment spreads equally virtuoso - the pianist Malcolm Martineau, however, had no problems with it - and the singer has to conquer his space, without even massively aufzutrumpfen. Bryn Terfel did that by noting - except in Robert Schumann's "Belshazzar" - not too much the true and false interpretational stereotypes of German lied singing, but still maintaining a good part of his island aesthetics, in which the restraint is not only considered good manners, but also as an artistic potential that develops a new, strong whole from the balancing of the narrative singing and the conceptual instrumental sound speech. This requires a piano accompanist like Malcolm Martineau, who, on the one hand, remains self-confident in distance and independence and, on the other hand, does not play his part as a competitor. In this respect, Terfel had the best conditions this evening, and use them. As an intimate song singer as well as a stage animal.
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Björg