Customer Reviews

Tales of Opera

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If you count Bryn Terfel as Welsh, then Simon Keenlyside ranks as the leading British baritone, his every move greeted rapturously by the musical press in London. He's said to be dashing onstage and sings with intensity; his voice, although lighter than either Terfel's or Hampson's, is flexible and attractive. I don't think you'd pick it out in a crowd -- he lacks the distintive signature of a superstar. But his career has skyrocketed, and as a young man he was tapped by Abbado, no less, to record Don Giovanni.

This CD is one of those typical calling-card recitals of arias ranging from Mozart and Rossini to Tchaikovsky and verismo. Here's the complete program:

Il Barbiere di Siviglia : Largo al factotum della citta (Rossini). Guillame Tell : Sois immobile (Rossini). Herodiade : Vision Fugitive (Massenet). Don Carlo : Per me guinto e il di (Verdi). Un ballo in maschera : Eri tu che macchiavi quell'anima (Verdi). La Traviata : Di provenza il mar (Verdi). Hamlet : O vin dissipe la tristesse (Thomas). I Puritani : Ah! Per sempre io ti perdel (Bellini). Zauberflote : Ein Madchen oder Weibchen (Mozart). Pagliacci : Si puo si puo (Leoncavallo). L'Arlesiana : Come due tizzi accesi (Cilea). Pique Dame : Ja vas ljublju (Tchaikovsky). Don Giovanni : Dah vieni alla finestra (Mozart). Zaide : Nur mutig mein Herz versuche dein Gluck (Mozart). Tannhauser : Oh du mein holder Abendstern (Wagner).

Like many well-schooled, intelligent singers, Keenlyside handles his voice very well and studies the languages he's asked to perform in. It wasn't a good idea to start out with Figaro's aria from the Barber of Seville, however. Keenlyside doesn't have boastful panache or humor, and the results sound forced. He seems to be shouting here and in the following aria form William Tell. Where many non-Italian baritones fall down is in Verdi -- even Hampson sounds like a fish out of water -- but Keenlyside gamely delivers three numbers from Don Carlo, Ballo in Maschera, and La Traviata. Surprise, surprise, he's quite sympathetic in all three and could easily be singing such roles at the Met.

Despite making a name in Mozart, Keenlyside offers a humorless aria of Papageno's, then switches gears with a lurch into verismo delivers Tonio's big number from Pagliacci, very effective in its robustness. The program ends with a beautiful, heartfelt rendition of the Evening Star aria from Tannhauser. Listening to Keenlyside's soaring legato, you feel that he deserves his reputation, even if the last dash of charisma is lacking.

When was the last time you actually laughed while listening to "Largo al factotum?" Well, if you don't during Simon Keenlyside's rendition on this marvelous recital disc, I guarantee your money back. Well, I can't really make that promise, but I'd be awfully surprised if you didn't find his version not only beautifully sung, but very, very funny. And that's all one can hope for from a Figaro isn't it? Frankly, I can't fault a single one of Keenlyside's masterful performances on any of the 15 (count 'em, folks, 15) tracks. Regardless of the language, regardless of the role, he infuses each one with such artistry, intelligence and superb acting choices that it's as if we're hearing these ridiculously familiar arias for the very first time. And given the ubiquity of recording contracts being flung around these days, I'd say that's something very special indeed.

I recently purchased this disc, and wasn't sure what I was getting into, only really listening to a couple tracks or so before buying. Keenlyside brings more maturity to these arias that many lyric baritones today don't really seem to do. In my opinion he is quite a versatile singer singing everything from the acrobatic "Largo al factotum" barber aria to arias by Leoncavallo, Massenet, Verdi, Bellini, Mozart, Ambroise Thomas, Tchaikovsky, and even Wagner. I was pleasantly surprised when I saw him put "Oh, du mein holder Abendstern" on this CD. Most is done very well though. All the Verdi on this CD is done quite well. He seems to keep a nice blend of dark and lighter sounds within his voice. Too many baritones seem to be either too dark or too light. Opposed to some other reviews, I personally like his "Ein Maedchen oder Weibchen" aria. It has that comic sound, that Papageno should always have. Also, the Muencher Rundfunkorchester plays very well. I studied in Europe last semester and was able to see them play. They are magnificent in every way, and in ways, more impressive than the Vienna Philharmonic. A good collection of music.

Simon Keenlyside has everything you could ask in a lyric baritone. Keenlyside's voice possesses great beauty and technical mastery, he sounds always without any audible effort over all the range of his voice. These vocal gifts are complemented by intelligent interpretative skills. An opera recital can sometimes be a tedious business, with excerpts from different styles and composer tossed in order to show the singer's vocal skills. This CD present this and much more: on every selection of this recording there is an intensity of expression that makes every aria and character that Keenlyside sings on this program to be equally interesting. Keenlyside presents arias from roles that are from his repertory as well as other arias from roles that are associated with heavier baritone voices. In all of these arias he is equally successful, even in the heavier Verdi arias, as he intelligently sing them without forcing his voice to sound different from his own lyrical baritone. Among the highlights of this recital are the aria from Don Carlos (sung with great feeling and legato, and great trills) Herodiade, Hamlet and a rare aria from Cilea's L'Arlesiana. This is Simon Keenlyside's first opera recital and we hope that there will be much more on the making. Highly recommended.

I heard a snippet of this CD on a Gramophone podcast of Gramophone 2007 award winners. Simon Keenlyside is a revelation--wonderful singing, intensely musical, gorgeous voice. This is a terrific addition to any collection.

Simon Keenlyside picked a programme for his recital of operatic arias that befits an all-round lyrical baritone who is capable of handling the diverse repertoire for this genre with full capability.
I don't take for granted his ability in languages. Even great operatic stars had been unable to offer such a diverse programme as Mr Keenlyside. Nor could one say that he sticks his fingers into too many pies, since each piece is being meticulously prepared and performed with finesse.
The Rossini opening aria is better done than many big names around, if not outright brilliant. Mr Keenlyside's Italian being more Italianate than most British singers. And his German is very passable if not perfect. On top of the Frech, Italian and German pieces, he also adds the great lyrical piece from Pique Dame, adding Russian to his diverse album.
How far can a lyrical baritone go in terms of an operatic career? If not with such language proficiency, I bet Mr Keenlyside would NOT have stayed that much in demand. Many a good lyrical baritone had been unable to make a big name for himself owing to this lack of proficiency, and many a good lyrical baritone have been forced to acquire such language proficiency in order to advance his career. This is pretty much unlike tenors, nor bassos.
Perhaps Mr Keenlyside should further explore his potentials in the baroque reperotire than those romantically dramatic ones. His perfect intonation, good enunication, crystal clear timbre appears most adept at such repertoires than romantic ones.

This is the most beautiful sound I have heard come from the mouth of a man since Placido Domingo was in his prime!

Not only is Keenlyside blessed with a great gift for a voice, but his musicianship is unparalleled.

SIMON KEENLYSIDE IS ONE OF THE GREAT BARITONES OF OUR TIMES. HE BRINGS SUCH ENERGY WITH HIS FABULOUS VOICE ! HIS NUANCED EXPRESSIVENESS IS A PLEASURE IN THIS COLLECTION OF ARIAS. BE SURE NOT TO MISS HIS SCHUMANN/BRAHMS LEIDER ALBUM--A MUST IF YOU LOVE GREAT SINGNG.

I am very excited to have finally purchased this CD of well-known gems from the British baritone Simon Keenlyside. I was first exposed to his refined and agile lyric baritone a few years back when DG released a recording of Mozart's Don Giovanni with Keenlyside as the Don and Bryn Terfel as Laporello. It was a fascinating study of voice to hear these two side-by-side, so to speak. Since then, Keenlyside recorded a selection of lieder but I kept wondering if he would venture into the well-stumped turf of operatic arias for baritone. This CD was well worth the wait. It's a collection of 15 arias, including the obligatory Largo al Factotum from Rossini's Barber and more rare Come Due Tizzi Accesi from Cilea's L'Arlesiana, an Italian verismo opera famous for a great tenor aria Frederico's Lament (the echo of which can be heard in this aria).
What strikes the listener immediately is Keenlyside's ability to change (!) his voice quite dramatically to suit characterization needs. His Tonio (from I Pagliacci) is "heavy" and menacing, but his Papageno is amazingly playful and fun. It's neat that these arias are positioned next to each other on the CD.
His legato and breath control (particularly showcased by several Verdi arias), coupled with superb agility and musicality are a delight. The recording quality is beyond reproach, as is the supporting forces of Ulf Schirmer and his orchestra.

This is a really good cd, it's amazing how Mr.Keenlyside is singing!! every aria it's perfect!!
You must has this cd i your own collection!!!