Splendid way to learn about opera from promising young baritone

PATRICK Keefe, a talented young baritone, delivered the most recent lecture recital in the Opera Prelude series at Christ Church, Henley.

He is to join the English National Opera as a Harewood Artist in September and it was clear that we were listening to a very special young singer.

Throughout this recital, Keefe was ably supported by the competent and supportive pianist Brendan Musk, who is well known to Opera Prelude’s regular attendees.

From his theatrical and sensational entry from the back of the church to the detailed analysis of types of baritones, the subject of the morning’s lecture, Keefe kept the audience amused, attentive and impressed.

His entry, singing Figaro’s Lego al Factotum (Rossini) was terrific, convincingly arrogant and with superb acceleration without any loss of accuracy.

His vocal illustrations that followed through the lecture, coupled with a large dose of bravado and convincing acting, were highlights of the morning. His full, rich baritone with his captivating delivery, plus his penchant for imitating what he seemed to deem lesser ranges (or singers), all contributed to a very engaging performance.

One aim of the lecture was to introduce and educate the audience in the detailed identifiers of the various types of baritones, vocal range, style and quality of voice required.

Another aim was to showcase his singing ability.

Both aims were certainly achieved.

Keefe’s knowledge of the anatomical and physiological properties associated with the varieties of voice types and delivery was splendidly enhanced by his remarkable control over his own vocal apparatus. This control allowed him to demonstrate both obvious and subtle differences.

There are, apparently, not only five different types of baritones but also two major styles/genres.

The works of some composers or opera parts suit a certain type of voice. As a singer’s voice matures, different parts become suitable.

In addition to what Keefe firmly asserted were characteristics resulting from anatomical differences, there is also the effect of training, experience and age.

Thus, roles a singer excels at in youth can become less appropriate and possible later in life but others demanding maturity, such as some Wagner parts, become available.

None of these mature roles should be attempted until at least 50 was Keefe’s firm assertion.

A German system called fach identifies five types of baritones. Keefe took the audience through examples, demonstrating contrasts. The types are distinguished by the pitch range that can be covered and the quality or timbre of the voice and these are suited to certain operatic roles.

In addition to these five types, there are two types of roles, the lyric and the dramatic type of character. His examples included arias from Don Carlos (Verdi), Barbiere (Rossini) and Rigoletto (Verdi).

Lyrical baritones characteristically play more gentle roles, while the dramatic ones are taken by the strong characters.

No surprise then when Keefe confirmed that he was suited to the dramatic baritone types, classified as a kavalier-baritone or baryton-noble.

Listening to Keefe’s fine strong baritone voice and his amusing and informative lecture was a splendid way to learn more about opera.

He richly deserved the enthusiastic applause he received from the audience.

Susan Edwards