Powerful singing and rich accompaniment point to sparkling futures

THE audience at Opera Prelude’s latest recital was treated to outstanding performances from Dan D’Souza (baritone) and George Ireland, the accompanying pianist.

The theme of the lecture/recital was “Verismo: extraordinary stories about ordinary people”.

This was the first time these two Opera Prelude Young Artists had performed together, yet the rapport was excellent. D’Souza’s rich, powerful voice and his ability to convey characters through his singing, acting and facial expressions was magnificent.

Ireland provided an exceptionally rich, supportive accompaniment while extending the orchestral reduction by adding, for example, a hint of bells to the piano part in the Puccini excerpt.

In the first half of the lecture, D’Souza outlined the characteristics of verismo opera and sketched the political, cultural and philosophical background of this new opera style. This was emerging during the latter part of the 19th century and the formation of Italy in 1880.

Opera was wildly popular across the territories which unified to form Italy. With an extraordinary number of opera houses, it was thought that the love of opera could play an important role in creating a new cultural identity.

With the new country came a new style of opera, a style that reflected the ordinary people and chimed with the socio-political changes happening across Europe.

In verismo opera, the stories were more “realistic”, free of moralising. The style of the singing changed as the distinction between recitative and aria diminished and music of the ordinary people was incorporated. The types of roles in these operas, servants and circus performers, contrasted with grand opera’s rich, powerful characters.

The first half concluded with an impassioned rendition of Nemico della patria, from Andrea Chenier (Giordano).

Verismo style followed from the belle canto style of Rossini, Bellini, Donizetti and, of course, Verdi. Who was to take on the mantle of (elderly) Verdi, was apparently the question of the day.

In the second half of the recital, D’Souza answered this question by performing examples from verismo-style operas, Pagliacci (Cavallo), Fedora (Giordano) and Tosca (Puccini).

D'Souza’s rendition of this series of arias was stunning. He has a very strong baritone voice and his ability to convey different roles is engaging.

The recital ended with D’Souza singing Scarpia’s aria Te Deum from Tosca (Puccini). This was sung with Scarpia’s venom and spine-chilling evil intent, while Ireland’s piano accompaniment was rich and so evocative of the orchestra.

George Ireland started learning to play the piano when he discovered a keyboard in his loft at the age of 14. He has recently graduated from the Royal College of Music and is rapidly collecting prizes and engagements with opera companies.

Dan D’Souza also has an array of prizes and among his other roles he will be singing in Elixir of Love at the English National Opera this season.

I predict sparkling futures for these musicians. What a treat to listen to both these young artists in Henley.

The next Opera Prelude Young Artist recital will be on Friday, October 25. For more information, visit operaprelude.org

Susan Edwards