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a bare stage this evening save for the piano. Tonight, here in Cardiff, | :00:16. | :00:21. | |
five singers face the daunting task of painting pictures through song. | :00:21. | :00:26. | |
Joining me, someone who knows exactly the challenge they face, the | :00:26. | :00:33. | |
ever exciting soprano, Daniele. challenge is to use the magic of | :00:33. | :00:37. | |
classical song to paint passionate, musical vivid pictures. You are | :00:38. | :00:41. | |
never more exposed than you are in a song recital. A great night lies | :00:41. | :00:47. | |
ahead in the final of the 2013, BBC Cardiff Singer of the World song | :00:47. | :00:57. | |
:00:57. | :01:31. | ||
Alongside the main competition, singers have a chance to excel in | :01:31. | :01:35. | |
the world of classical song. It's a different animal. You can be | :01:35. | :01:39. | |
a lot more subtle with it. You could sort of add a lot more colours | :01:39. | :01:45. | |
because you are not singing over a full orchestration. An opera singer | :01:45. | :01:50. | |
should study a song repertory because the attention to musical | :01:50. | :01:55. | |
nuance and colouring that you need to work on in miniature is what also | :01:55. | :02:01. | |
helps make special a performance in opera. Since the first prize song | :02:01. | :02:06. | |
confirm tickets, it's been a happy hunting grown for home-grown | :02:06. | :02:11. | |
winners. Half the winners have come from the British Isles. We have | :02:11. | :02:17. | |
famously Bryn but also Neil Davies, Chris, Andrew Kennedy, Elizabeth | :02:17. | :02:27. | |
:02:27. | :02:28. | ||
watts, and we can count as an honorary Brit Alish Tynan. We get to | :02:28. | :02:32. | |
see them in a fearsome test of their abilities. | :02:32. | :02:39. | |
In 90 my opinions' time, we'll know the name of this year's winner. | :02:39. | :02:49. | |
:02:49. | :02:59. | ||
Tonight's singers. Cell cell cell. Yuri Gorodetski. Jamie Barton. Ben | :02:59. | :03:08. | |
Johnson. Olena Tokar. -- Maria Celeng. | :03:08. | :03:13. | |
CHEERING AND APPLAUSE Nearly 1500 people in St David's | :03:13. | :03:18. | |
Hall tonight, a vast audience for the intimate art of song-making, | :03:18. | :03:23. | |
Schubert, Britain, Bartoch and Strauss among the composers we'll | :03:23. | :03:27. | |
hear tonight. Joining me for comment and analysis, how wonderful it is to | :03:27. | :03:37. | |
:03:37. | :03:42. | ||
welcome back to Cardiff, Alish Tynan who won the prize ten years ago and | :03:42. | :03:46. | |
also Bernarda Fink. The song prize was sometimes viewed as being a | :03:46. | :03:50. | |
runners-up prize, but by the time you won it, it developed a life of | :03:50. | :03:58. | |
its own? The minute Bryn Terfyyll won the prize, it became the one to | :03:58. | :04:03. | |
win. What are you going to be looking for? It's a fantastic | :04:03. | :04:09. | |
occasion. I'm for the first time in this kind of venue and it's moving | :04:09. | :04:17. | |
to know so many young people are wanting to sing and to sing poetry. | :04:17. | :04:24. | |
Some wonderful of musical poetry. Lots more from both of you. Daniele | :04:24. | :04:31. | |
will be meeting the singers later on. You know about the | :04:31. | :04:38. | |
pre-performance nerves. How do you turn it into something useful? | :04:38. | :04:41. | |
key to getting ready is remembering the technical work, the voice | :04:41. | :04:45. | |
lessons, all of the preparation that comes with preparing song has | :04:45. | :04:49. | |
already been done so it's time to put all these things aside and | :04:49. | :04:53. | |
remember that tonight is about telling a story, communicating with | :04:53. | :04:57. | |
the audience, communicating with the judges, showing people your very | :04:57. | :05:02. | |
essence and your interpretation of these beautiful, beautiful songs. | :05:02. | :05:06. | |
They're very exposing and really can show a lot about how you feel about | :05:06. | :05:09. | |
music, so putting that aside and channels the nerves into the energy | :05:09. | :05:13. | |
that you are going to give out to the audience is at the heart of why | :05:13. | :05:18. | |
we are here tonight. We'll let you go backstage. The singers have | :05:18. | :05:23. | |
already performed here in the heats in front of a distinguished jury, | :05:23. | :05:33. | |
:05:33. | :05:34. | ||
the German tenor, an English soprano and the jury, and a Swedish | :05:34. | :05:44. | |
:05:44. | :05:55. | ||
baritone. The Hungarian soprano now, already sung and I'm happy with | :05:55. | :05:59. | |
them. It's maybe one of the most important things that your voice has | :05:59. | :06:06. | |
to be flexible really. You have to pronounce very well. Have a very | :06:06. | :06:15. | |
big, operatic voice. I have to keep this back, more intimate. When | :06:15. | :06:21. | |
somebody is such a great pianist, he is of the same thinking of the | :06:21. | :06:29. | |
music. I would like to sing in my best. When it's enough to win, of | :06:29. | :06:32. | |
course I would like to because everyone likes but I would like to | :06:32. | :06:37. | |
be in good shape and show what I can do, then I'm satisfied. And if I can | :06:37. | :06:47. | |
:06:47. | :07:16. | ||
# Da kam die dunkle Nacht. # Kein Blumlein war zu finden. | :07:16. | :07:26. | |
:07:26. | :07:57. | ||
Tranen in den Klee, #Ein Blumlein # Wohl in dem dunklen Klee. | :07:57. | :08:07. | |
:08:07. | :08:07. | ||
Apology for the loss of subtitles for 118 seconds | :08:07. | :10:06. | |
# Doch fing es an zu sprechen. MUSIC: "Harmonie du soir" by | :10:06. | :10:16. | |
:10:16. | :10:17. | ||
sur sa tige. # Chaque fleur s'evapore ainsi qu'un | :10:17. | :10:27. | |
:10:27. | :10:31. | ||
# Les sons et les parfums tournent dans l'air du soir. | :10:31. | :10:37. | |
# Valse melancolique et langoureux vertige. | :10:37. | :10:47. | |
:10:47. | :10:51. | ||
# Chaque fleur s'evapore ainsi qu'un qu'on afflige. | :10:51. | :11:01. | |
:11:01. | :11:01. | ||
Apology for the loss of subtitles for 118 seconds | :11:01. | :14:22. | |
# Valse melancolique et langoureux # Szabad-e maset szeretni. | :14:22. | :14:32. | |
:14:32. | :14:33. | ||
# Jaj, jaj, jajajaj. # Tudakoztam, de nem szabad. # Igy a | :14:33. | :14:42. | |
szivem gyaszban marad. # Igy a szivem gyaszban marad. | :14:42. | :14:52. | |
:14:52. | :15:04. | ||
# Jaj Istenem, add megernem. # Kit szeretek, avval elnem. | :15:04. | :15:14. | |
# Jaj, jaj, jajajaj; # Ha azt meg nem adod ernem. | :15:14. | :15:24. | |
:15:24. | :15:24. | ||
Apology for the loss of subtitles for 118 seconds | :15:24. | :16:09. | |
# En Istenem, vegy el engem. tetore" by Bartok. | :16:09. | :16:13. | |
# Ha kimegyek arra magas tetore. # Talalok en szeretore, kettore. | :16:13. | :16:18. | |
# Ej, baj, baj, baj, de nagy baj. # Hogy a babam szive olyan, mint a | :16:18. | :16:28. | |
:16:28. | :16:45. | ||
# Ej, baj, baj, baj, de nagy baj. # Hogy a babam szive olyan, mint a | :16:45. | :16:48. | |
vaj. # Nem kell nekem sem a ketto, sem az egy. | :16:48. | :16:50. | |
# Csak az az egy, ki igazan szeretett. | :16:50. | :16:54. | |
# Ej, baj, baj, baj, de nagy baj. # Hogy a babam szive olyan, mint a | :16:54. | :17:04. | |
:17:04. | :17:36. | ||
He loves singing Hungarian. Very important to celebrate and sing in | :17:36. | :17:40. | |
what is her native language. Let's get the opinion of my guests | :17:40. | :17:44. | |
tonight, Bernarda Fink and Ailish Tynan. Wonderful singing in | :17:44. | :17:51. | |
Hungarian at the end? Oh, how refreshing! I just wish more of this | :17:51. | :17:59. | |
repertory is on stage in recitals. I think it's a very good thing to have | :17:59. | :18:06. | |
not only German and English singers, also Argentinians, hundred fairian | :18:06. | :18:10. | |
sing singers. It's -- Hungarian singers. Something interesting | :18:10. | :18:14. | |
happened there, there was a lot of hand movement early on and when she | :18:14. | :18:19. | |
was singing in Hungarian, she was much stiller. I wondered if that was | :18:20. | :18:24. | |
something to do with communicating the words? I'm always encouraging | :18:24. | :18:28. | |
young singers to sing repertory. She totally came to life in the second | :18:28. | :18:32. | |
of the Bartok. I felt, this is a singer, she's 25 years old, the | :18:32. | :18:38. | |
depth of maturity of that singing and the level of commitment and the | :18:38. | :18:44. | |
warmth that she gave us all, it's astonishing to be that good so | :18:44. | :18:50. | |
young. Did the Debussy have the lustrousness that it needs? I think | :18:50. | :18:56. | |
there was room for improvement of the articutation. Her body language | :18:56. | :19:01. | |
is OK. I think she really feels what she's singing. I kneel because she's | :19:01. | :19:07. | |
25, the top and the bottom of the voice have places to go -- I feel. | :19:07. | :19:11. | |
That only comes with age. This isn't a sprint, this career, it's a | :19:11. | :19:15. | |
marathon. These are all things that take time and she will grow into it. | :19:15. | :19:23. | |
We'll hold it there. Backstage now, Maria is with Danielle. | :19:23. | :19:27. | |
Congratulations, fantastic, expressive singer, you sang in | :19:27. | :19:30. | |
German, French and then in your native language which was incredible | :19:31. | :19:35. | |
to hear. How do you feel tonight? First, thank you very much for this | :19:35. | :19:40. | |
compliment, especially from you, Danielle! Well, I felt good and I | :19:41. | :19:44. | |
really trusted Simon, he's a wonderful pianist and musician and I | :19:44. | :19:53. | |
always enjoy working with him and also I really enjoyed it. What about | :19:53. | :19:59. | |
the songs? Debussy was good, but mainly that, yes. | :19:59. | :20:02. | |
Congratulations, Maria. Thank you. | :20:02. | :20:05. | |
If you are hungry for more song, Radio Three has been broadcasting | :20:05. | :20:08. | |
highlights from the heats all week. You can listen to that again online | :20:08. | :20:12. | |
and the Cardiff singer website will give you much more information about | :20:12. | :20:15. | |
tonight's contenders. Also the line-up for the Grand Final, live | :20:15. | :20:23. | |
tomorrow night on BBC Four and do use the hashtag if you want to add | :20:23. | :20:26. | |
your thoughts on Twitter. More from the jury and what they are looking | :20:26. | :20:36. | |
:20:36. | :20:43. | ||
I think it's fantastic that Cardiff singer has this separate song prize | :20:43. | :20:52. | |
because it should be the part of a singer's armoury. Pf | :20:52. | :21:00. | |
I usually say to my students that I love performers, between an actor | :21:00. | :21:10. | |
:21:10. | :21:14. | ||
and a singer, that balance should be story and you've got to be able to | :21:14. | :21:18. | |
tell a story from inside, not from outside. So it's different from the | :21:19. | :21:28. | |
:21:29. | :21:33. | ||
he or she can reach me and the audience with their interpretation | :21:33. | :21:43. | |
:21:43. | :21:49. | ||
and the most rewarding thing that you ever do when it works perfectly. | :21:49. | :21:54. | |
When it doesn't, it's possibly one of the most scariest things you 'll | :21:54. | :21:58. | |
ever do. So, on to our second singer of the | :21:58. | :22:08. | |
:22:08. | :22:13. | ||
night, bell Russian tenor, Yuri Here in the final, I'll start with | :22:13. | :22:21. | |
Rachmaninov and for me, Rachmaninov is so touching, so full of feeling. | :22:21. | :22:25. | |
The music that I will finish my programme in the final, it's | :22:25. | :22:35. | |
:22:35. | :22:43. | ||
and so heavy. It's a funny one. We get on stage and everybody will be | :22:43. | :22:47. | |
thinking, we are so close to each other, and we have the same ideas. | :22:47. | :22:52. | |
We have the same feelings. We are like the whole body on the stage in | :22:52. | :22:58. | |
that moment and it's important to make the magic on stage. | :22:58. | :23:05. | |
So, here is Yuri, who's brought his own pianist with him, Tatiana | :23:05. | :23:15. | |
:23:15. | :23:27. | ||
MUSIC: "My Love, Let Us Escape" by Rachmaninov. # Pokinem, milaja. | :23:27. | :23:31. | |
# Shumjashchij krug. # Stolicy. Pora v rodimyj kraj. | :23:31. | :23:36. | |
# Pora v lesnuju glush'! # Ty slyshish'? | :23:36. | :23:46. | |
:23:46. | :24:05. | ||
# Dushi volshebnyje poryvy? # Il' razljubila ty zheltejushchija | :24:05. | :24:11. | |
nivy. # I roshchi svezhija. | :24:11. | :24:21. | |
:24:21. | :24:21. | ||
Apology for the loss of subtitles for 118 seconds | :24:21. | :25:37. | |
And in our next song by Rachmaninov, the streams are running. Spring | :25:37. | :25:47. | |
:25:47. | :25:47. | ||
Apology for the loss of subtitles for 118 seconds | :25:47. | :27:59. | |
Richard Strauss to finish his set, and first Tomorrow. MUSIC: "Morgen!" | :27:59. | :28:09. | |
:28:09. | :28:09. | ||
Apology for the loss of subtitles for 118 seconds | :28:09. | :29:18. | |
werde. # Wird uns, die Seligen, sie wieder | :29:18. | :29:28. | |
:29:28. | :29:28. | ||
Apology for the loss of subtitles for 118 seconds | :29:28. | :31:47. | |
# Was traumen heisst von brennenden Kussen. | :31:47. | :31:50. | |
# Von Wandern und Ruhen mit der Geliebten. | :31:50. | :31:57. | |
# Aug in Auge. # Und kosend und plaudernd. # Wenn | :31:57. | :32:03. | |
du es wusstest. # Du neigtest dein Herz! | :32:03. | :32:07. | |
# Wenn du es wusstest. # Was bangen heisst in einsamen | :32:07. | :32:13. | |
Nachten. # Umschauert vom Sturm, da niemand | :32:13. | :32:23. | |
trostet. # Milden Mundes die kampfmude Seele. | :32:23. | :32:33. | |
:32:33. | :32:35. | ||
# Wenn du es wusstest. # Wenn du es wusstest. | :32:35. | :32:44. | |
# Was leben heisst, umhaucht von der Gottheit. | :32:44. | :32:51. | |
# Weltschaffendem Atem. # Zu schweben empor, lichtgetragen. | :32:51. | :33:01. | |
:33:01. | :33:01. | ||
Apology for the loss of subtitles for 118 seconds | :33:01. | :33:55. | |
World prise 2013. Tatiana Loisha the pianist for Yuri Gorodetski. They're | :33:55. | :34:00. | |
very good friends. They both have other partners but they're very good | :34:00. | :34:04. | |
friends. He does Ailish, the Tormented Poet | :34:04. | :34:10. | |
very well, doesn't he? Very well. For my ear, it's a very operatic | :34:10. | :34:16. | |
selection of songs he's chosen. The Rachmaninov and the one at the end | :34:16. | :34:21. | |
all show off his obvious operatic talent. Morgen is a real mood song, | :34:21. | :34:26. | |
one of the toughest mood songs there is, isn't it? I think so. Very | :34:26. | :34:31. | |
courageous and risky to do this and I think he did it really with big | :34:31. | :34:37. | |
control. He has something introverted, the expression and | :34:37. | :34:43. | |
lyricism of a poet. So I would wish he'd do more lyrical songs. Again, a | :34:43. | :34:47. | |
lovely looking lad, let's not underestimate how important that is | :34:47. | :34:51. | |
in this career nowadays with so much of it being on cinema and | :34:51. | :34:54. | |
television, great voice and a committed performer. Backstage to | :34:54. | :34:58. | |
join Danielle. You must be overwhelmed after | :34:58. | :35:02. | |
singing this incredible repertory. Are you a romantic because you have | :35:02. | :35:10. | |
offered us such romantic composers? Yes, it's true, I'm a little bit | :35:10. | :35:15. | |
crazy after the stage. You definitely tugged on my heart | :35:15. | :35:18. | |
strings, picking some really beautiful, lush, romantic songs. We | :35:18. | :35:22. | |
got to hear a lot of the range of your voice. Do you think that maybe | :35:22. | :35:28. | |
you leave your heart in Cardiff tonight? Yeah, definitely. I left my | :35:28. | :35:32. | |
heart on stage just right now. It's true. | :35:32. | :35:35. | |
I think Cardiff's collected many hearts over the years. Thanks, | :35:35. | :35:40. | |
Danielle. Now, a reminder that while the jury will decide the winner of | :35:40. | :35:43. | |
Cardiff singer and the song prize, you can cast your vote as well in | :35:43. | :35:47. | |
the Dame Jones Sutherland audience prize. Since it was introduced a | :35:47. | :35:51. | |
decade ago, audience and jury have agreed on the winner but once. | :35:51. | :35:57. | |
Details of how to vote this year at the website. Now the third singer of | :35:57. | :36:07. | |
:36:07. | :36:10. | ||
this song Prize Final, American Out of all the programmes I've put | :36:10. | :36:14. | |
together for the Cardiff competition, the song Prize Final is | :36:14. | :36:20. | |
my absolute favourite. I'm so excited for it. Particularly | :36:20. | :36:24. | |
the last Rachmaninov. It's a very, very special song. I fell in love | :36:24. | :36:29. | |
with it the first time I heard it. It took three months for me to find | :36:29. | :36:35. | |
the sheet music to this. Rch researchers found it after about a | :36:35. | :36:41. | |
month. These are all songs that I feel a great connection to. | :36:41. | :36:45. | |
Musically, interpretedly and I'm trying to please the crowd with | :36:45. | :36:49. | |
these songs because, isn't that the point? In competitions, there are | :36:49. | :36:52. | |
always judges but they are part of the crowd too. | :36:52. | :37:02. | |
:37:02. | :37:04. | ||
Here, my job is to make the crowd sit up and go "wow". | :37:04. | :37:14. | |
:37:14. | :37:20. | ||
Jamie Barton performing with the other official of the week. | :37:21. | :37:30. | |
:37:31. | :37:31. | ||
Apology for the loss of subtitles for 118 seconds | :37:31. | :42:13. | |
MUSIC: "Meine Liebe ist grun" by # Varav rodna dina hander, flicka? | :42:13. | :42:20. | |
# Flickan sade: Jag har plockat rosor. | :42:20. | :42:30. | |
:42:30. | :42:47. | ||
# Ater kom hon fran sin alsklings mote. | :42:47. | :42:57. | |
:42:57. | :42:58. | ||
# Kom med roda lappar. Modern sade. # Varav rodna dina lappar, flicka? | :42:58. | :43:08. | |
:43:08. | :43:28. | ||
# Flickan sade: Jag har atit hallon. # Ater kom hon fran sin alsklings | :43:28. | :43:38. | |
:43:38. | :44:04. | ||
# Flickan sade: Red en grav, o darover. | :44:04. | :44:14. | |
:44:14. | :44:20. | ||
# Och pa korset rista, som jag hander. | :44:20. | :44:27. | |
# Ty de rodnat mellan alskarns hander. | :44:27. | :44:33. | |
# En gang kom hon hem med roda lappar. | :44:33. | :44:41. | |
# Ty de rodnat under alskarns lappar. | :44:41. | :44:44. | |
# Senast kom hon hem med bleka kinder # Ty de bleknat genom | :44:44. | :44:54. | |
:44:54. | :44:54. | ||
Apology for the loss of subtitles for 118 seconds | :44:54. | :49:32. | |
# Schitaju kazhdyja mgnoven'ja. the end of her performance here at | :49:32. | :49:38. | |
St David's Hall. -- Jamie Barton. | :49:38. | :49:43. | |
Her pianist, won composition fissions too. | :49:43. | :49:47. | |
-- competitions too. Let's get Bernarda and Ailish's | :49:47. | :49:53. | |
opinion. What an operatic singer she is? ! I just loved that. I mean, the | :49:53. | :49:57. | |
two of them looked like they were having the time of their lives. I | :49:57. | :50:04. | |
hope the people in television land get to see the theatrics of Llyr and | :50:04. | :50:10. | |
the piano. They were almost choreographing it. She opens her | :50:10. | :50:18. | |
mouth and you just go "wow". ". In the Brahms, oh, the atmosphere she | :50:18. | :50:22. | |
was creating, someone in the audience coughed and I felt like I | :50:22. | :50:25. | |
was being hit by a shotgun. Oh, it was just superb from beginning to | :50:25. | :50:31. | |
end. She is an incredible singer with a huge career ahead of her. | :50:31. | :50:35. | |
This quality, this chocolate voice is just amazing and it's wonderful, | :50:35. | :50:40. | |
this balance between the high control, technique control she has | :50:40. | :50:49. | |
and the total abandonment in interpretation. Sibelius done | :50:49. | :50:55. | |
greatly? Just magnificent, fantastic. I had to keep reminding | :50:55. | :51:01. | |
myself that she was a mezzo. Yes, radiant high rate. Let's go | :51:01. | :51:05. | |
backstage. Sure she'll have much to say about her performance with | :51:05. | :51:09. | |
Danielle. Jamie, you were amazing. What a dramatic performance. You | :51:09. | :51:15. | |
really let yourself go? ! I tried to, I absolutely love this, | :51:15. | :51:19. | |
especially the Sibelius and the Rachmaninov. When you headed on to | :51:19. | :51:27. | |
stage, I said "go rocket Jamie" -- "go rock it Jamie" and it was | :51:27. | :51:32. | |
mission accomplished. If that's the goal of my job, I think I did it. | :51:32. | :51:35. | |
was fantastic, the audience was blown away, you can feel the energy | :51:35. | :51:39. | |
in the Haltonite. Congratulations. Thank you so much. Back to you. | :51:39. | :51:45. | |
Mary king's been a major part of our Cardiff coverage this week. She's | :51:45. | :51:48. | |
been bringing us her unique insight into the challenges faced by the | :51:48. | :51:52. | |
young stars taking part in the competition. She considers the | :51:52. | :52:02. | |
:52:02. | :52:11. | ||
particular demands of performing Lieder begins with a poem. About 200 | :52:11. | :52:17. | |
years ago, Schubert revolutionised the way words and song were grafted | :52:17. | :52:27. | |
:52:27. | :52:29. | ||
together, creating a new artistic He was prolific too. By the time he | :52:29. | :52:34. | |
died a couple of months before his 31st birthday, he'd written over 600 | :52:34. | :52:42. | |
songs. After Schubert, composers of all | :52:42. | :52:45. | |
nationalities explored this medium and through it created brilliant | :52:45. | :52:55. | |
:52:55. | :53:07. | ||
work. And it's this that derision heart of any performance, whether in | :53:08. | :53:17. | |
:53:18. | :53:27. | ||
English, Spanish, German, Russian or First of all, with only a piano for | :53:27. | :53:30. | |
company, the voice is terrifyingly exposed. | :53:30. | :53:34. | |
And there has to be perfect synergy between the singer and the penal | :53:34. | :53:38. | |
north-east, sculpting every tiny detail of their performance | :53:38. | :53:48. | |
:53:48. | :53:54. | ||
It's about bringing a black-and-white text to vibrant, | :53:54. | :53:59. | |
colourful life, about understanding the nuances of language to capture a | :53:59. | :54:05. | |
mood and tell a story, about harnessing the imagination to paint | :54:05. | :54:11. | |
in sound and ultimately, drawing your audience into the world that | :54:11. | :54:21. | |
:54:21. | :54:22. | ||
Mary King part of our team for the final live tomorrow night here on | :54:23. | :54:32. | |
:54:33. | :54:34. | ||
BBC Four. Maltese tenor Joseph Calea and Karata Matala will be my guests, | :54:34. | :54:37. | |
7. 30 tomorrow. In the song prize tonight, three singers down, two to | :54:37. | :54:43. | |
go. Danielle is backstage. Are you glad you came to Cardiff? Oh, my | :54:43. | :54:46. | |
gosh, I'm so glad I came. I know myself from recitals all over the | :54:46. | :54:52. | |
world, it's one of the most special ways to story-tell and watching | :54:52. | :54:56. | |
these singers tonight, they are just incredible. They are all | :54:56. | :54:58. | |
contributing with their own strengths in different ways. | :54:59. | :55:03. | |
On to the fourth sunger tonight. The song prize has always been per file | :55:03. | :55:06. | |
ground for singers from these islands. Ailish won for Ireland, | :55:06. | :55:11. | |
there have been two Welsh winners and three English singers have been | :55:11. | :55:20. | |
victorious in the history. Flying the flag for England tonight, ten | :55:20. | :55:28. | |
Ben Johnson. It feels great to be in the final | :55:28. | :55:38. | |
and excited to see sing the programme. -- ten tenor, Ben | :55:38. | :55:48. | |
:55:48. | :55:48. | ||
Johnson. I've chosen musical songs. Benjamin | :55:48. | :55:55. | |
Brittain, then a Shakespeare setting in Paris. I decided to bring my own | :55:55. | :55:59. | |
pianist because I thought it was very important that I had someone | :55:59. | :56:08. | |
that I knew. I love getting a relationship with a pianist. It's a | :56:08. | :56:12. | |
duo after all, it's not just about the singer, so this way I know that | :56:12. | :56:19. | |
I don't have to worry about that and I can give it my best. | :56:19. | :56:26. | |
Let's see that special relationship on stage between Ben Johnson and his | :56:26. | :56:36. | |
:56:36. | :57:07. | ||
return againe. # Into my breast and eyes, which I | :57:07. | :57:17. | |
:57:17. | :57:18. | ||
Apology for the loss of subtitles for 118 seconds | :57:18. | :58:05. | |
rain. # Mine eyes did waste? | :58:05. | :58:15. | |
:58:15. | :58:16. | ||
What griefs my heart did rent? # That sufferance was my sinne; now | :58:16. | :58:26. | |
:58:26. | :58:52. | ||
night-scouting thief. # The itchy lecher and self-tickling | :58:52. | :58:57. | |
proud. # Have the remembrance of past | :58:57. | :59:07. | |
:59:07. | :59:16. | ||
joyes, for relief. To poore me is allow'd. | :59:16. | :59:26. | |
:59:26. | :59:26. | ||
Apology for the loss of subtitles for 118 seconds | :59:26. | :00:14. | |
# No ease; for long, yet vehement Verlangen. | :00:14. | :00:21. | |
# Das an thessal'scher Flut die blonden Haare. # In dir entflammt, | :00:21. | :00:24. | |
und ist's im Lauf der Jahre. # Nicht unter in Vergessenheit | :00:24. | :00:31. | |
gegangen. # Vor Frost und Nebeln, welche | :00:31. | :00:41. | |
:00:41. | :00:45. | ||
feindlich hangen. # Solang' sich uns dein Antlitz birgt, das klare. | :00:45. | :00:55. | |
:00:55. | :01:00. | ||
# Jetzt dies geehrte heil'ge Laub # Wo du zuerst, und ich dann ward | :01:00. | :01:10. | |
:01:10. | :01:30. | ||
verliebten Hoffen. # Das in der Jugend dich nicht liess | :01:30. | :01:36. | |
vergehen. # Lass, von dem Druck befreit, die | :01:36. | :01:46. | |
:01:46. | :01:46. | ||
Apology for the loss of subtitles for 118 seconds | :01:46. | :07:17. | |
# So werden wir, vom Staunen froh Tenor Ben Johnson. | :07:17. | :07:24. | |
That programme of sonnets finishing with the 14th century Italian | :07:24. | :07:32. | |
scholar and poet Petrarch. Ben Johnson, former Radio 3 New | :07:32. | :07:36. | |
Generation Artist, Wigmore Hall emerging talent, and he won the | :07:36. | :07:43. | |
Kathleen Ferrier prize back in 2008. He says if he wins tonight he is | :07:43. | :07:47. | |
going to spend his prize money on his wedding in September. Bernarda | :07:47. | :07:54. | |
Fink, a very interesting programme. I think he constructed his programme | :07:54. | :08:01. | |
around this high poetry. I think he has a very good command of his | :08:01. | :08:08. | |
voice, and the articulation is just right. I see a lot of experience | :08:08. | :08:18. | |
:08:18. | :08:22. | ||
behind it, and very convincing. I am really impressed. He is the first | :08:22. | :08:29. | |
senator night I feel has come out and given us a recital. I just feel | :08:30. | :08:35. | |
like you made this huge venue tiny. People were in charm to it. Let's go | :08:36. | :08:44. | |
backstage. Ben, you did a wonderful thing by making this programme | :08:44. | :08:47. | |
revolve around one theme in that you really took the audience right into | :08:47. | :08:51. | |
a very deep place. You could feel the audience was captivated. What | :08:51. | :08:55. | |
was going through your mind when you were on stage? I was really happy, I | :08:55. | :09:00. | |
was really happy in the music, I was really thinking, I was in the | :09:00. | :09:06. | |
moment. We always try to be in the moment and be the people that we | :09:06. | :09:10. | |
are, trying to be and I really felt I was five different people. I loved | :09:10. | :09:15. | |
it. The audience are just so gorgeous and supportive and you get | :09:15. | :09:20. | |
such a wonderful energy from them that makes it easier, it really | :09:20. | :09:24. | |
does. Thank you very much. Back to you. | :09:24. | :09:29. | |
Straight on with the last singer of the evening. Olena Tokar from the | :09:30. | :09:39. | |
:09:40. | :09:40. | ||
Apology for the loss of subtitles for 118 seconds | :09:40. | :13:17. | |
# I v bezdonnykh ochakh. # Ni pechal' i ni smekh. | :13:17. | :13:27. | |
:13:27. | :14:04. | ||
# I v bezdonnykh ochakh. # U nego shiroki. | :14:04. | :14:14. | |
:14:14. | :14:16. | ||
# Shiroki dva kryla. # I legki, tak ljogki. | :14:16. | :14:26. | |
:14:26. | :14:35. | ||
# Kak polnochnaja mgla. # Ne ponjat', kak nesjot. | :14:35. | :14:43. | |
# I kuda i na chem. # On krylom ne vzmakhnet. | :14:43. | :14:53. | |
:14:53. | :14:53. | ||
Apology for the loss of subtitles for 118 seconds | :14:53. | :16:11. | |
And now a song of unrequited love by # Dir zu eroffnen. | :16:11. | :16:14. | |
# Mein Herz verlangt mich. # Hort' ich von deinem. | :16:14. | :16:20. | |
# Darnach verlangt mich. # Wie blickt so traurig. | :16:20. | :16:29. | |
# Die Welt mich an! # In meinem Sinne. | :16:29. | :16:37. | |
# wohnet mein Freund nur. # Und sonsten keiner. | :16:37. | :16:47. | |
:16:47. | :16:51. | ||
# Und keine Feindspur. # Wie Sonnenaufgang. # Ward mir ein | :16:51. | :16:56. | |
Vorsatz! # Mein Leben will ich. # Nur zum Geschafte. | :16:56. | :17:03. | |
# Von seiner Liebe machen. # Ich denke seiner. | :17:03. | :17:11. | |
# Mir blutet das Herz. # Kraft hab' ich keine. | :17:11. | :17:17. | |
# Als ihn zu lieben. # So recht im Stillen. | :17:17. | :17:22. | |
# Was soll das werden! # Will ihn umarmen. | :17:22. | :17:32. | |
:17:32. | :17:32. | ||
Apology for the loss of subtitles for 118 seconds | :17:32. | :18:29. | |
MUSIC: "Tell Me What, In The Shade # Skazhi, o chjom v teni vetvej. | :18:29. | :18:37. | |
# Kogda priroda otdykhajet. # Pojot vesennij solovej. | :18:37. | :18:46. | |
# I chto on pesnej vyrazhajet? # Chto tajno vsem volnujet krov'? | :18:46. | :18:51. | |
# Skazhi, skazhi, skazhi, kakoje slovo. | :18:51. | :19:01. | |
:19:01. | :19:12. | ||
# Znakomo vsem i vechno novo? # V razdum'je devushka gadajet. | :19:12. | :19:21. | |
# Chto tajnym trepetom vo sne. # Jej strakh i radost' obeshchajet? | :19:21. | :19:29. | |
# Nedug tot strannyj nazovi. # V kotorom svetlaja otrada. | :19:29. | :19:39. | |
:19:39. | :20:17. | ||
# Ty utomlennyj iznyvajesh'. # I zloj pechali vopreki. | :20:17. | :20:22. | |
# Khot' prizrak schast'ja prizyvajesh'! | :20:22. | :20:31. | |
# Chto uslazhdajet grud' tvoju? # Ne te li zvuki nezemnyje. | :20:31. | :20:41. | |
:20:41. | :20:41. | ||
Apology for the loss of subtitles for 118 seconds | :20:41. | :21:35. | |
# Kogda uslyshal ty vpervyje. soprano. | :21:35. | :21:45. | |
:21:45. | :21:47. | ||
Singing Chai cover ski in the final of the BBC Cardiff Singer Of The | :21:47. | :21:52. | |
World. She said doing the recital is like painting a water colour. | :21:52. | :21:56. | |
We have heard the five finalists here at Cardiff singer. Bernarda | :21:56. | :22:00. | |
Fink, what beautiful colour to her voice, top and bottom? Fantastic, | :22:00. | :22:05. | |
beautiful voice. What I realise is, singing is about intelligence, about | :22:06. | :22:14. | |
efficient technique. And then, freeing emotions and I feel a lot of | :22:14. | :22:22. | |
emotion when she sings. It's the angel. Calm, confident, Ailish, | :22:22. | :22:28. | |
completely across the text? That is so funny that she would say she's | :22:28. | :22:32. | |
like the sun, I was thinking that, a ray of sunshine. Utterly adorable, I | :22:32. | :22:36. | |
want to take her home with me, keep her in a jewellery box when feeling | :22:36. | :22:41. | |
Salled, I open it up, perfect technique. Yes.Top notes soaring | :22:41. | :22:47. | |
out. Calm presence.Absolutely. think she may have other offers, | :22:47. | :22:51. | |
Ailish! Let's go backstage, she's with Danielle. | :22:51. | :22:56. | |
What would it mean to you to win BBC Cardiff Singer Of The World Song | :22:56. | :23:06. | |
:23:06. | :23:21. | ||
TRANSLATION: Yes, it would mean for her that she might have the | :23:21. | :23:26. | |
expectations of the jury met as well. Congratulations. Our last | :23:26. | :23:29. | |
finalist today. Back to you. Thank you very much indeed. I'm | :23:29. | :23:33. | |
joined by a member of the song prize jury, the German tenor, Christoph | :23:33. | :23:39. | |
Pregardien, one of the most acclaimed Leaders our age. Thank you | :23:39. | :23:44. | |
for joining us. Glad to be here this week? Yes and it was a real pleasure | :23:44. | :23:50. | |
to hear all the young singers bringing to us wonderful programmes. | :23:50. | :23:55. | |
Heart warming for you that song lieder is warming? It's very | :23:55. | :24:01. | |
important we try to combine the possibilities of opera in song | :24:01. | :24:07. | |
because I want to find a lieder singer, also operatic elements. | :24:07. | :24:11. | |
Sometimes it's difficult for young singers to judge how far they can go | :24:11. | :24:15. | |
with their expressive means. final question. How interested are | :24:15. | :24:19. | |
you as a judge in the programmes that the singers have put together? | :24:19. | :24:25. | |
I think it's quite a difficult task to find a programme of about 15-20 | :24:25. | :24:31. | |
minutes which shows all your abilities and which also gives some | :24:31. | :24:38. | |
popular things to the audience and also for us, to the judges. I think | :24:38. | :24:43. | |
we have heard different approaches to this problem. We'll let you | :24:43. | :24:47. | |
downyour fellow jury members. Christoph Pregardien, thank you very | :24:47. | :24:52. | |
much indeed. Tomorrow we'll find out who will be Singer Of The World | :24:52. | :24:56. | |
2013. Here is a reminder of who's made the final and what we have to | :24:56. | :25:06. | |
:25:06. | :25:11. | ||
Jamie Barton from the USA, mezzo soprano. | :25:11. | :25:17. | |
Italian soprano, Teresa Romano. Marko Mimica, a base bar tone from | :25:17. | :25:22. | |
Croatia. Daniela Mack, a me sew soprano from | :25:22. | :25:27. | |
Argentina. Soprano, Olena Tokar, from the | :25:27. | :25:36. | |
Ukraine. Ailish Tynan and Bernarda Fink have | :25:36. | :25:43. | |
been with me all evening. Let's spin through the five singers. Ailish, | :25:43. | :25:48. | |
Maria Celeng, Hungarian? 25 years of age, fantastic, looks gorgeous, has | :25:48. | :25:51. | |
so much time left to work the top and the bottom of the voice, but a | :25:51. | :25:58. | |
great career ahead of her. I'm going to ask you about the two tenors, | :25:58. | :26:02. | |
Bernarda, starting with Yuri Gorodetski? Beautiful voice. I also | :26:02. | :26:08. | |
think he has a little way to do in the top. I think, just to work more | :26:08. | :26:13. | |
with the body, but so musical and great presence, fantastic presence. | :26:13. | :26:19. | |
We are bowled over by the impact Jamie Barton had? American mezzo? | :26:19. | :26:24. | |
Yes, fantastic, great singing tonight. For me, it's an operatic | :26:24. | :26:29. | |
voice? Ben Johnson representing England? I could see him doing | :26:29. | :26:33. | |
different progress of recitals without difficulty. That's an | :26:33. | :26:39. | |
important thing. Lastly, Olena Tokar? Oh, I thought she was | :26:39. | :26:43. | |
absolutely gorgeous, enchanting in every way. So, I have to put you on | :26:43. | :26:48. | |
the spot, Bernarda, who is your winner tonight? Ben. Ben for me as | :26:48. | :26:54. | |
well. There was a level of artistry in it and an interpretation that I | :26:54. | :26:57. | |
didn't feel was exactly recital singing from everyone else. From | :26:57. | :27:01. | |
him, it was a real recital. It's been wonderful having you both, two | :27:01. | :27:05. | |
such great song singers with us this evening. Thank you very much so | :27:05. | :27:12. | |
much. I think the jury are about to make their way on to the platform. | :27:12. | :27:22. | |
:27:22. | :27:39. | ||
And here they are. The judges are on The winner is, Jamie Barton. | :27:39. | :27:46. | |
So, American mezzo soprano, Jamie Barton, takes the 2013 BBC Cardiff | :27:47. | :27:53. | |
Singer Of The World song prize. Bernarda? Well, it is definitely a | :27:53. | :28:01. | |
surprise for us, but she is fantastic. So I'm very happy for her | :28:01. | :28:05. | |
and shows how much Bernarda and I know! But she is an absolutely | :28:05. | :28:13. | |
stunning singer. Ben Johnson you were rooting for. | :28:13. | :28:21. | |
American mezzo Jamie Barton is the winner of the 2013 song prize. We'll | :28:21. | :28:26. |