Quilter, Finzi, Korngold, Mahler, Schubert
The long mid-August holiday weekend at the Festival concluded with a recital by the ever-elegant Thomas Hampson. On Saturday, I attended an event (“Artist Encounter”) with him, at which he explained his approach to singing different roles and songs. The bottom line was to produce the appropriate emotion in the audience without actually going through the emotion on stage: crying and singing don’t mix, for example. He told the famous story of John Gielgud critiquing Dustin Hoffman’s methodology to get into the roles he played: “have you tried acting?” Gielgud had inquired.
The selection of songs tonight required acting, and Hampson moved easily from one context to the next. For the first half of the concert, he sang three lesser-known sets of songs based on Shakespeare by Roger Quilter, Gerald Finzi, and Erich Wolfgang Korngold. Hampson’s approach became most apparent where he sang settings by each of the three composers of the same words. So, for example, “Come Away, Death” from Twelfth Night came across as welcoming fate (Quilter), melancholic (Finzi), and narrative (Korngold).
The second half of the program consisted of a whole bunch of songs by Gustav Mahler. Mahler had subsequently orchestrated most of these (indeed, it was always his intention), but tonight’s versions were with purely piano accompaniment. This made the settings more intimate, and Hampson could reflect on the words more delicately and distinctly.
It helped, of course, to have Wolfram Rieger on the piano, a fine accompanist who drew out all of the color but supported and never overwhelmed the words. Wave after wave of applause provoked some more Mahler encores, and finally Schubert’s An Sylvia to hark back to the concert’s Shakesperean beginnings (we’d heard the same ode in a setting by Finzi earlier as well).