What an exhilarating ‘celebration’ it was
In a word, this ‘celebration’ at the Lionel Wendt Theatre on Thursday evening was “exhilarating”! The reasons were several; at its base the programme was generous in its variety, with the bill of fare- ranging from Art Songs through selections from operettas, into opera, and as such was also richly varied in periods, styles and language(s) such as Spanish, Italian, French, German and English.
The artistes were in excellent voice while their collaborator’s craftsmanship coruscated at the keyboard, capturing tempi, dynamics, expression and nuance with aplomb and masterful control. There you have the vital ingredients that contribute to a memorable concert!This was in support of the Sunera Foundation and the labour they undertake in providing the resources, personnel and opportunity for those facing challenges in disability, to be integrated with society and in their community. The artists all performed gratis, even though they have had to travel very long distances from their homebases.
It was also good to note that there was a responsive audience present too and pretty much a house-full [barring the one sour intrusion of a mobile phone- but thankfully during the fading coda of a particular song!] that welcomingly embraced the firsttime-in-Sri Lanka, Sean Panikkar (tenor) from the USA, and the once-in-a-while returnee Tharanga Goonetilleke (soprano) with the well established and compelling ambassador for Lanka’s reputation as a home that contributes to world class standards in art, pianist Rohan De Silva.
Sean Panikkar is a notable talent and eminently ‘noticeable’ with a winsome bearing and compelling stage presence, dignified, athletic in physique,stance and gesture. His story and the provenance of his art and craft are to be read about elsewhere, but his confident striding on stage and the self-assured flair he brings into his performance contained much that engaged the audience from the first. Importantly, he communicates, beyond singing accurately and delivering the lyrics. The dramatic element is part of his oeuvre and he knows what-of he sang. At the age of 37 he has a fine range and placement of his tenor, and seems to have a resonance in the lower register as well, and exceedingly powerful in the projection of his ‘head voice’.
I would be very curious if he would also be willing to consider Wagnerian roles and arias. He seems to have the breadth of tone such as those Wagner demands of his tenors.
I focus on just one piece, which showed him in ‘fine fettle’ and also showed his ability to work in collaboration with Rohan at the piano with understanding and relish in the challenge offered in Rachmaninoff ’s “Spring Waters”. There was sizzling pianism in as much as the pace that needed to be kept in the tricky rendition of the Russian lyric and the rhythmic intensity from the syllables in sync with the piano and vice versa. They triumphed in this seemingly tightrope romp!
Tharanga has matured considerably from the times we have heard her before. Her tone has also taken on a broader sweep. She is lyrical rather than being powerful. She too delivered exquisitely in a rather complicated Debussy chanson, with unpredictable flow of melodic line and paced unevenly,with the composition “L’ombre de arbres”. Here too, the iconic Debussy impressionist writing with rich tonal colours in the chords, all captured sumptuously in Rohan’s playing. Memorable!
She also did an excellent job of the rather whimsical piece, again offering challenge for its recitative style but with unusual musical punctuation, as in “The Serpent” by the American, Lee Hoiby. He wrote this poem and set it to music for the legendary soprano Leontyne Price. Tharanga took this on, and competently and joyously handled the essence and irony inherent in the lyric, and the features of its diction, which actually makes the song a viable concert performance.
In closing, I cannot help but feel that we are blessed to possess a facility such as the Lionel Wendt Memorial Theatre. What wonderful acoustics! Without which this celebration in song would have been otherwise.