:00:00. > :00:00.Tonight, communication is key, as we test that intimate
:00:07. > :00:09.bond between singer, pianist and listener.
:00:10. > :00:12.Who can hold their nerve under the heat of a single spotlight?
:00:13. > :00:15.It's time for song to take centre-stage at Cardiff
:00:16. > :00:52.For nearly 30 years, June days in Cardiff have brought
:00:53. > :00:55.a celebration not just of musical drama, but also something
:00:56. > :01:01.And it's the Song Prize which has seen the talents
:01:02. > :01:14.Bryn Terfel, Andrew Kennedy, Ailish Tynan,
:01:15. > :01:17.and Christopher Maltman have all shown the close affinity British
:01:18. > :01:19.and Irish singers have with the medium of song.
:01:20. > :01:22.But what will the story of 2017 be, as our five song finalists
:01:23. > :01:28.try to pierce the heart and etch their names on the trophy?
:01:29. > :01:35.The stage is bare but for the piano that awaits our five young musical
:01:36. > :01:37.storytellers hoping to take the Cardiff Singer of
:01:38. > :01:43.A venerable history indeed for British and Irish contestants
:01:44. > :01:47.here in the Song Prize - six out of the 14 winners so far.
:01:48. > :02:02.I'm delighted also to welcome the acclaimed English tenor John Mark
:02:03. > :02:06.Ainsley. I bet you have been asked a million times over the years, how'd
:02:07. > :02:12.you impress a jewellery in a competition like this? If I knew the
:02:13. > :02:18.answer, I'd be a very rich man! -- how do you impress the jury's
:02:19. > :02:24.singing songs, remember you are not an opera house. However big a song
:02:25. > :02:28.may seem. The exchange with song is an intensely personal one. Of
:02:29. > :02:31.course, with all of the technique and the beauty of sound and the tone
:02:32. > :02:36.that you want to give, we would really like to see something of use.
:02:37. > :02:42.Mary, we are going to hear songs in German, version and French so far.
:02:43. > :02:47.-- something of you. But the art of song is alive and well in Britain. I
:02:48. > :02:55.think we relish the opportunity for miniature stories, something in
:02:56. > :02:58.miniature. I sometimes think we don't produce great big operatic
:02:59. > :03:00.voices so much these days but we really produce many fine musicians.
:03:01. > :03:02.We will be hearing much from both of you as the evening progresses, thank
:03:03. > :03:05.you very much. Ahead, over the next 1.5 hours,
:03:06. > :03:07.songs by Schubert, Strauss, Tchaikovsky and Korngold,
:03:08. > :03:09.as we hear highlights Three of tonight's contenders
:03:10. > :03:12.are also in tomorrow's grand final. All five have already sung
:03:13. > :03:15.on stage twice this week in the competition heats,
:03:16. > :03:17.so it has been a demanding week. With them as they come off stage,
:03:18. > :03:23.fellow singer Angel Blue. The stamina needed in these
:03:24. > :03:36.circumstances is not Yes, absolutely. This has been a
:03:37. > :03:41.very busy week for the singers. A lot of demands on their bodies,
:03:42. > :03:44.minds and hearts as they compete for this coveted title. One of the
:03:45. > :03:50.things that is very important for them is to make sure that they
:03:51. > :03:52.maintain the stamina. Most of that comes from local rest, which is key
:03:53. > :03:55.in this competition. -- vocal rest. Someone once said that
:03:56. > :03:58.if opera is intoxication, Let's try and unravel
:03:59. > :04:01.that mystery a little. Here are Angel and Mary
:04:02. > :04:18.with their thoughts When I think of song, the most
:04:19. > :04:24.important thing for me is fiction. Because I think that the artist, and
:04:25. > :04:27.the pianist together, have this wonderful responsibility of taking
:04:28. > :04:31.the audience on this journey. Because they are sort of everything,
:04:32. > :04:37.they are the director, the conductor, along with the pianist.
:04:38. > :04:41.And they get to have these moments of lengthy freedom. I don't know if
:04:42. > :04:45.that makes sense, but that's what I'll call it, where they can show
:04:46. > :04:49.their audience the deepest part of who they are as a singer. I think we
:04:50. > :04:55.will see the string is off singers stretched in their language skills.
:04:56. > :05:03.Not -- we will see the singers stretched. You are singing in
:05:04. > :05:07.poetically dense language. These pieces were written many, many years
:05:08. > :05:12.ago. Some of the language is very archaic. I know for myself, it is
:05:13. > :05:16.hard sometimes to find a proper translation of things. Yes, maybe
:05:17. > :05:20.they should all be sure to include things that are rough their native
:05:21. > :05:25.language. You know, so that we can see what the differences -- that are
:05:26. > :05:28.of their native land which. We can see how the imagination works, how
:05:29. > :05:36.they express themselves in their own language, when of course they are in
:05:37. > :05:39.the moment of the word. In the moment of the word. Yes, it is often
:05:40. > :05:42.overlooked that the pianist has to be as responsible for the poetry as
:05:43. > :05:47.much as the singer. One thing in Cardiff that is very particular is
:05:48. > :05:52.that the company is and singer might have only met one week ago. And in
:05:53. > :05:55.general, good relationships between jurors last many years. There is a
:05:56. > :06:01.kind of subliminal connection, a bit like a marriage -- between two rows.
:06:02. > :06:05.It is difficult to have all of this repertoire that can be emotional and
:06:06. > :06:08.important to the singer in a very short amount of time, they have to
:06:09. > :06:12.make sure that they make the connection. I'm looking forward to
:06:13. > :06:14.the Song Prize. I just can't wait to see what they have chosen.
:06:15. > :06:19.And all of them can be proud of getting this far.
:06:20. > :06:22.379 applied from around the world, 19 took part in the Song Prize
:06:23. > :06:24.rounds earlier this week, and just five are
:06:25. > :06:29.Catriona Morison is the first of our home competitors tonight,
:06:30. > :06:37.From Ukraine, it's the baritone Iuri Samoilov.
:06:38. > :06:43.London-born Louise Alder carries English hopes tonight.
:06:44. > :06:49.Then it's the mighty Mongolian baritone Ariunbaatar Gambaatar.
:06:50. > :06:52.And to begin, one of our two American finalists this week,
:06:53. > :07:11.Congratulations on making the Song Prize final. How do you feel?
:07:12. > :07:15.Thrilled. I'm singing songs, one of my absolute favourite things. To
:07:16. > :07:18.have this chance to do it on a bigger stage, to settle into some
:07:19. > :07:24.different repertoire, I'm really, really excited, yeah. What are some
:07:25. > :07:28.of the differences between opera and a song recital? How is the
:07:29. > :07:33.discipline different? In an operator you have colleagues here, there is a
:07:34. > :07:37.whole orchestra. -- in an opera. The conductor is taking care of so much.
:07:38. > :07:41.You have a costume and make-up, maybe there is a wig that you have
:07:42. > :07:46.to worry about. You are just pulled 100 different ways. For me, being on
:07:47. > :07:50.stage, just you and the pianist, that is all there is, it's just you
:07:51. > :07:53.and the music. You are very vulnerable. You have to feel very
:07:54. > :08:05.comfortable and honest about the emotions that you are feeling. And I
:08:06. > :08:10.found out early on, the more general I made it, I tried to include
:08:11. > :08:16.everybody, and it didn't work. The specificity is actually where the
:08:17. > :08:18.power is. People experience you experiencing your pain or muff or
:08:19. > :08:21.joy or whatever. John wowed the audience in his heat
:08:22. > :08:23.with soulful American sounds from the pen of Aaron Copland,
:08:24. > :08:26.but tonight it's an all German language programme, beginning
:08:27. > :08:28.with the music of Franz Schubert. The poet rides away
:08:29. > :08:30.from his beloved, enjoying the colourful vistas around him,
:08:31. > :08:33.but his head is filled To the hyper-romantic
:08:34. > :12:28.world of Richard Strauss, John Chest has a secret
:12:29. > :12:30.invitation for us. The poet longs to find
:12:31. > :12:33.a suitable moment to slip away While all their friends
:12:34. > :12:36.are still revelling, they'll make love under the rose
:12:37. > :19:25.bushes in the garden. Who has done this. Song by the
:19:26. > :19:42.American baritone John Chest. John Chest inspired by
:19:43. > :19:46.that famous battle of the baritones between Bryn Terfel and
:19:47. > :19:59.Dmitri Hvorostovsky back in 1989. Three baritones in this year's
:20:00. > :20:05.final. Let's get the immediate thoughts of my guests. Very crafty,
:20:06. > :20:12.isn't he, as a performer, John Chest. Yes, although I have to say,
:20:13. > :20:17.the occasion may be slightly got to him. There was an intense look
:20:18. > :20:25.concentration, which made him look stern. Strauss his most successful
:20:26. > :20:31.songs. Even though, he did a song about the expectation of blissful
:20:32. > :20:36.loving in a garden. Right at the end, when it was all over, we saw
:20:37. > :20:42.him smile. I just wish he had had the presence of mind to offer us
:20:43. > :20:46.that at some times during the programme. Although, extremely
:20:47. > :20:52.accomplished singing. He has been singing in Germany, it may explain
:20:53. > :20:56.the German open, but what about the judging? If you sing all in one
:20:57. > :21:01.language in one short space of time, it is easier to stay in that style,
:21:02. > :21:05.of course. But it also means you can't show different aspects of your
:21:06. > :21:16.personality that a French or Spanish repertoire might give you. Let's go
:21:17. > :21:25.backstage and join Angel." How Do You Feel? I Have Had A Drink Of
:21:26. > :21:31.Water. Was It What You Expected? I was on stage the other night, but it
:21:32. > :21:34.is different to hear the piano. It didn't go exactly how I hoped, but
:21:35. > :21:38.it never does, and that is what is beautiful about doing things at
:21:39. > :21:42.this. It was a crafted performance, well thought out, Bravo and
:21:43. > :21:47.congratulations to you. This man hiding in the back gets credit.
:21:48. > :21:59.Bravo to both of you. Our jury is as you would expect, what will it take
:22:00. > :22:07.to impress the jury deceiving? -- this evening.
:22:08. > :22:13.We are looking for singing of the highest standard, interpretation of
:22:14. > :22:16.the highest standard and the special factor where it comes across as
:22:17. > :22:25.timeless. Ailish Tynan knows what it takes
:22:26. > :22:28.to win this competition - she took the song prize back in 2003
:22:29. > :22:30.John Gilhooly is director at London's Mecca of song
:22:31. > :22:33.and chamber music - Wigmore Hall From America we welcome
:22:34. > :22:43.the charismatic and enormously I need to see that you really
:22:44. > :22:48.understand that piece of music, and how you present it to your audience.
:22:49. > :22:51.One of the finest lieder singers of today, baritone Wolfgang Holzmair
:22:52. > :22:54.brings three decades of recital experience to Cardiff And
:22:55. > :22:56.finally David Pountney takes the jury chair -
:22:57. > :22:59.he's artistic director at Welsh National Opera.
:23:00. > :23:04.He has to change within seconds or moments completely from one mood to
:23:05. > :23:08.the other, from one atmosphere to the other, from one style of song to
:23:09. > :23:15.the other style. finally David Pountney
:23:16. > :23:17.takes the jury chair - he's artistic director
:23:18. > :23:20.at Welsh National Opera. inflection, and above all, it is
:23:21. > :23:27.about the words. It's a full 12 years since we last
:23:28. > :23:33.had a Scottish representative here, and Catriona Morison has made it
:23:34. > :23:57.into both finals. Congratulations on making it to the
:23:58. > :24:01.final. Thank you very much. How do you feel? Totally excited about it.
:24:02. > :24:04.It is quite unbelievable. I had the best time on stage in the first
:24:05. > :24:09.round, I really enjoyed it. Hopefully, I can do that on the
:24:10. > :24:13.night as well. You currently live in Germany, so you must know so much
:24:14. > :24:18.about lieder. What makes for a great lieder singer Reece a lot of my
:24:19. > :24:25.programme is German. I love singing in German. I love being able to use
:24:26. > :24:31.the language expressively. And what makes a good lieder singer is using
:24:32. > :24:37.the text and creating a connection with the text and the music. It is
:24:38. > :24:43.so exposed, does that ever make you nervous? It is so excused, but there
:24:44. > :24:47.is a beauty in that as well. I was thinking recently about there being
:24:48. > :24:50.another Katrina in the audience somewhere, and I am communicating
:24:51. > :24:54.through her somehow, if that makes sense, and opening that out in the
:24:55. > :24:58.audience as well, so that it is not just insular, almost.
:24:59. > :25:02.Catriona will sing a song by the Scottish
:25:03. > :25:06.But first, to early 20th century Vienna, and Schoenberg's cycle
:25:07. > :25:10.Fountains in the form of mythical animals,
:25:11. > :25:13.and flowers like stars surround two lovers.
:25:14. > :27:48.APPLAUSE A beautiful dream next. Our hero in
:27:49. > :27:50.a leafy glade by a stream, in love with a beautiful girl, and the dream
:27:51. > :29:53.becomes real. Pierre Vellones was the pseudonym
:29:54. > :30:00.of French composer Pierre Rousseau, who set to music epitaphs
:30:01. > :31:40.that he found on gravestones. And to finish, a Glasgow doctor
:31:41. > :31:45.who became a composer - Buxton Orr. A text in Scots dialect
:31:46. > :31:51.from our Scottish entrant. 20th-century composer Buxton Orr
:31:52. > :31:53.evokes a one-man band One-man band from a songs of
:31:54. > :34:03.childhood by Buxton Orr. Let's hear from John Mark and Mary
:34:04. > :34:08.King. The words Scotland the Brave at the end of the programme! That is
:34:09. > :34:12.artistry without artifice. That's so much personality, so much
:34:13. > :34:17.individuality. She is absolutely wonderful, I adore her. What a
:34:18. > :34:20.lovely, clear communicator. What a wonderful storyteller and a great
:34:21. > :34:24.sense of humour in that last song by Buxton or stop will I can't speak
:34:25. > :34:31.highly enough about that sort of singing. She led with great position
:34:32. > :34:37.and honesty through every emotion in that landscape. The voice itself is
:34:38. > :34:40.wonderful. I just think this is a singer with a real sensibility for
:34:41. > :34:47.song. Whatever she decides to do with her career I very much hope she
:34:48. > :34:53.will keep it in her programme. The more familiar repertoire, the Greek
:34:54. > :34:58.song? It was sublime, sublime. And she is fabulous. I'm speechless,
:34:59. > :35:03.really. I'm afraid I had a little moment, we won't talk about it. Very
:35:04. > :35:07.early on to start shedding a tear. Thank you very much early on.
:35:08. > :35:13.Katriona is there with Angel Blue. Fabulous job, you embody everything.
:35:14. > :35:17.And you keep the tension going throughout your programme. How do
:35:18. > :35:22.you manage that? That's nice to hear, thank you. I think Disraeli
:35:23. > :35:25.getting underneath the text, how that is in partnership with the
:35:26. > :35:29.music -- I think it is really getting underneath the text. And
:35:30. > :35:32.just living every second of it. We enjoyed your programme so much,
:35:33. > :35:35.thank you. That's all from backstage, back to you.
:35:36. > :35:38.If there was prize for sartorial elegance at Cardiff Singer,
:35:39. > :35:40.our next singer would definitely be in with a shout.
:35:41. > :35:55.From Ukraine, 28-year-old Iurii Samoilov.
:35:56. > :36:03.I must say, I quite enjoy singing songs. It is a much closer
:36:04. > :36:10.connection between you and your company asked. Between the two
:36:11. > :36:13.review, it is easy to create some people rather than trying to drag
:36:14. > :36:21.people from the orchestra and make them follow you. It is much harder.
:36:22. > :36:25.When you were giving these beautiful recitals, are you thinking of
:36:26. > :36:30.anything specific? I'm a very energetic person. Like when I meet
:36:31. > :36:35.somebody, I don't not for the smile or for what people say, I go for the
:36:36. > :36:42.energy, you know, the same that I try to do on stage while singing
:36:43. > :36:49.songs. I try to transmit energy. What makes a great Lieder singer?
:36:50. > :36:53.Many things. I think the most important thing is your heart, of
:36:54. > :37:00.course. Just an honest and open person can really change something.
:37:01. > :37:01.And present something different from anybody else. Let people feel what
:37:02. > :37:05.you feel. Iurii counts former winner
:37:06. > :37:07.Dmitri Hvorostovsky as one of his heros, and he's beginning
:37:08. > :37:10.with one of Hvorostovsky's calling The poet catches sight of someone
:37:11. > :37:14.in the midst of a crowded ball At night he can hear her
:37:15. > :37:18.laugh and see her eyes. To Italy now, and a tale
:37:19. > :39:52.of love gone bad - If you're not in love with me,
:39:53. > :39:58.then I won't love you back. To Russia to finish,
:39:59. > :41:41.and the music of Rachmaninov - a composer particularly close
:41:42. > :41:43.to Iurii's heart. He sang a Rachmaninov song
:41:44. > :46:36.in his main prize round as well. Rachmaninov, sung by Iurii Samoilov
:46:37. > :46:53.from Ukraine. He has sung Grimes in Frankfurt
:46:54. > :46:58.and Billy Budd in Moscow. I wondered if he might have
:46:59. > :47:11.been tempted to include some Let's go straight to John Mark
:47:12. > :47:17.Ainsley, did you enjoy that? Yes, I had a bath in that sound, it was
:47:18. > :47:20.wonderful. Earlier on, I said I hoped the singers wouldn't step onto
:47:21. > :47:24.the opera stage with their song singing. I had a suspicion that the
:47:25. > :47:30.stage door was ajar. He felt very comfortable. Clearly, and he clearly
:47:31. > :47:35.loves to perform. But I will say, his first song, the Tchaikovsky, one
:47:36. > :47:39.of the most famous Russian songs, very hard to bring off with a shadow
:47:40. > :47:46.of all the famous performances over you, but he really brought it down
:47:47. > :47:51.to his own level with his half voice that he used to great effect. And it
:47:52. > :47:55.was wonderful to hear him sing in Russian, one of his home languages.
:47:56. > :48:00.Yes, and I liked him much better tonight than I did in the main
:48:01. > :48:06.prize. I don't quite know why. I find him blustery in the main prize.
:48:07. > :48:11.There were a few months when he was pressing down to darken the time.
:48:12. > :48:15.Sometimes you get flat singing. When it is beautiful, it is ravishing and
:48:16. > :48:21.he is utterly committed. Thank you both very much. Backstage to hear
:48:22. > :48:26.from Iurii with Angel. What a great programme you had. How important
:48:27. > :48:29.were the pieces that you sang tonight? This music is close to my
:48:30. > :48:35.heart, and I have sang these pieces already many times. I am grateful
:48:36. > :48:41.that I did the programme this way. The audience, I thought they liked
:48:42. > :48:45.it as well. I thought so, too. It was emotional, full of colours and I
:48:46. > :48:48.think it was interesting. Congratulations on making it to this
:48:49. > :48:54.round, and I wish you the best of luck. Thank you very much. Iurii was
:48:55. > :48:59.a big hit with the view was early in the week. Many thought he was
:49:00. > :49:02.unlucky in the opera round. Don't forget, there is one win in this
:49:03. > :49:09.competition chosen by you. Your chance to overall our jury. Voting
:49:10. > :49:13.is now open, you have until 2pm on Sunday afternoon to register your
:49:14. > :49:17.vote. All the details, including clips for the competitors is on the
:49:18. > :49:18.Cardiff City website. You can watch all our programmes via the eye
:49:19. > :49:26.player. Plenty of people are tipping our
:49:27. > :49:32.next singer as a real star of the future.
:49:33. > :49:35.Now, don't go anywhere, because there are plenty of people
:49:36. > :49:37.tipping our next singer as a real star of the future.
:49:38. > :49:51.She's a home entrant, too - English soprano Louise Alder.
:49:52. > :49:56.Want is the biggest difference between singing songs and singing
:49:57. > :50:01.and opera concert? I think you can be more flexible when you sing
:50:02. > :50:08.lieder. With the piano, you are amazingly free to be able to really
:50:09. > :50:12.make soft singing, and also let rip, of course. But I think it is the
:50:13. > :50:17.variety that makes something a bit more special.
:50:18. > :50:22.Do you have a favourite language to sing in? My least favourite language
:50:23. > :50:27.is English! It is hard to sing in because our vowels are long. I find
:50:28. > :50:32.it is difficult for singing technique for a classical singing
:50:33. > :50:33.technique. It is easier if you are American, Irish or Scottish or where
:50:34. > :50:46.your bowels are broader. I am really, really lucky to do
:50:47. > :50:50.something that I enjoy so much, so I couldn't be happier to be out on
:50:51. > :50:51.that stage. Maybe that is what comes through, because I am nervous
:50:52. > :50:55.underneath! A real excitement surrounding
:50:56. > :50:58.Louise Alder this week, and she's starting with an absolute
:50:59. > :51:01.gem from the classical reportoire, Schubert's image of a trout
:51:02. > :51:04.swimming in sparkling waters. But watch out, because there's
:51:05. > :51:07.a fisherman ready to pounce. A chance to see how Louise measures
:51:08. > :53:21.up to our first competitor now, John Chest from the US,
:53:22. > :53:25.as Louise takes us back to that secret assignation
:53:26. > :53:27.under the rose bush, Louise is a big fan
:53:28. > :56:45.of 20th-century song - So no surprise she's taking
:56:46. > :56:51.us into that territory The endlessly fascinating
:56:52. > :56:56.and occasionally eccentric Poulenc, with some surrealist imagery
:56:57. > :00:51.from the poet Louis Aragon. An incredibly busy
:00:52. > :01:01.week for Louise Alder. She's busy preparing for tomorrow's
:01:02. > :01:06.opera final as well, and for good measure has had to fit
:01:07. > :01:09.in final performances of Strauss's Der Rosenkavalier
:01:10. > :01:24.at Welsh National Opera. I think we will go to Mary King
:01:25. > :01:30.fast. She is a class act, isn't she? I cannot believe that anybody would
:01:31. > :01:33.have that much control and then as under these circumstances,
:01:34. > :01:40.competition circumstances. It absolutely extraordinary -- control
:01:41. > :01:44.and finesse. I'm in bits, talk to him! Let's talk about the Strauss.
:01:45. > :01:48.There was a moment when you just want, oh, like this, with pleasure!
:01:49. > :01:52.I couldn't quite believe what I was hearing because it was so perfect.
:01:53. > :01:57.This for me is absolutely the real deal. She's in complete control of
:01:58. > :02:03.the instrument. She's always in the moment of the song and sharing it
:02:04. > :02:07.with us. I mean, it's just remarkable what she achieved this
:02:08. > :02:15.evening, I think. Oh, I went three times. I mean, this is a record.
:02:16. > :02:17.It's beautiful but it is still. She never does anything more than she
:02:18. > :02:25.has do and she does incredible things. And she makes them look
:02:26. > :02:30.super easy. It is so generous, it is such a generous, easy performing,
:02:31. > :02:34.great skill, but not showing how difficult it is. And the subtle way
:02:35. > :02:42.she paints the emotions, they are not overblown. The deep melancholy
:02:43. > :02:46.and the bitter irony and the rapture of the Strauss. I'm completely
:02:47. > :02:56.overwhelmed by it. I think that is a big tick from both of you! Lets go
:02:57. > :03:01.backstage and joint angel. That is a mouthful! How did the programme
:03:02. > :03:05.feel? It felt good, I think. It's so wonderful to stand up there and do
:03:06. > :03:10.such a different radio things. I feel very lucky to be here. You are
:03:11. > :03:15.doing a lot of singing right now. Yes, we all asked up yellow just
:03:16. > :03:18.pacing yourself as you go? Yes, not singing too much during the day and
:03:19. > :03:20.trying to take rest when I can. Best of luck to you.
:03:21. > :03:25.A reminder that we're just one night away from our opera final
:03:26. > :03:29.We'll be here every step of the way, as will no fewer than three
:03:30. > :03:32.Worth remembering two singers have done the double
:03:33. > :03:34.here at Cardiff Singer - most recently the immensely
:03:35. > :03:37.popular American winner Jamie Barton in 2013.
:03:38. > :03:41.Now, all illustrious careers have to start somewhere,
:03:42. > :03:44.and in the case of our final singer, that somewhere was driving a cab
:03:45. > :03:51.In got the local police chief, who signed him up
:03:52. > :03:55.And who'd have predicted that that fare would eventually bring him
:03:56. > :04:24.You had a great opera programme full of wonderful music that using so
:04:25. > :04:32.well. What is the biggest difference for you? How do you refocus from
:04:33. > :04:39.operetta recital? -- from operetta to recycle.
:04:40. > :05:04.When you are on stage, who are using into? -- who argue singing too.
:05:05. > :05:29.If there is one thing you are trying to convey, what is it?
:05:30. > :05:31.It was an all-Verdi programme which took Ariunbaatar
:05:32. > :05:34.to victory in his opera round, but tonight he's all set
:05:35. > :05:38.First, the music of Schubert, and a serenade - the text taken
:05:39. > :12:41.Ariunbaatar us taking us home with him now,
:12:42. > :12:43.as fellow Mongolian composer Sharav Byambasuren transports us
:12:44. > :16:03.to the pure air and calming plains of the mighty Steppes.
:16:04. > :16:18.A trip to Mongolia with Ariunbaatar Ganbaatar, ending his entry for
:16:19. > :16:28.Cardiff Singer of the World 2017 song prize. The 29-year-old
:16:29. > :16:31.baritone, the last singer to appear in this final.
:16:32. > :16:39.Let's go straight to my guests, it looks like you need a bit of that
:16:40. > :16:48.pure air of Mongolia. I can't speak. I find it unbelievably moving. Why?
:16:49. > :16:52.You want me to speak! There is something about what he represents,
:16:53. > :16:57.I suppose, just singing in that language, to hear him singing in his
:16:58. > :17:01.own language, and the immense sharing, the generosity of his
:17:02. > :17:06.performing at the voice is overwhelmingly beautiful. But it's
:17:07. > :17:10.not that, it's the generosity, the spirit. I can't really speak any
:17:11. > :17:16.more, it's not fair. John Mark Ainsley, don't cry. I am not crying,
:17:17. > :17:21.but I am moved by what he just did. He is a force of nature as much as
:17:22. > :17:27.he is a singer. Generosity, I think, is the word, not only of voice, but
:17:28. > :17:33.with spirit. He pours himself into all of these songs. I am not sure
:17:34. > :17:37.his future lies in the recital room, but whatever he decides to do, it is
:17:38. > :17:42.certainly going to be a major, major talent. What about the serenade that
:17:43. > :17:51.opened his performance? Again, it is very heartfelt. But not his natural
:17:52. > :17:55.repertoire. For Schubert, and some of the other repertoire that he
:17:56. > :17:58.sang, you need a slightly more this print and precise approach if you
:17:59. > :18:03.are really going to be a world leader in that repertoire, but it
:18:04. > :18:07.was winning to hear. What about the Tchaikovsky that we heard? The
:18:08. > :18:12.Tchaikovsky suited him down to the ground. It is melodic, it is overly
:18:13. > :18:16.emotional, and you could see him responding to being able to pour
:18:17. > :18:22.himself into the melody. I really do think that he has a great, great
:18:23. > :18:29.future in front of him. Mary, you have cleared your eyes a little.
:18:30. > :18:32.Yes, it is just so beautiful. Beautiful, beautiful singing. Thank
:18:33. > :18:35.you. Let's go backstage and join Angel.
:18:36. > :18:42.An amazing performance that you just gave, I could see the heart of
:18:43. > :18:45.Mongolia and feel the heart of the people and see the blue skies you
:18:46. > :19:11.talked about. You must be proud to bring this music to us.
:19:12. > :19:17.TRANSLATION: There is nothing to compare how I feel now by bringing
:19:18. > :19:24.this Mongolia composer's song to this great stage of the competition.
:19:25. > :19:29.Thank you very much, best of luck to you, Bravo. Thank you.
:19:30. > :19:32.This is the moment each night when we have interrogated one of the
:19:33. > :19:37.juror was on the way to the jury room. Tonight, I have lured to a
:19:38. > :19:43.them to join me, Ailish Tynan, who won the prize back in 2003, and John
:19:44. > :19:45.Gilhooly, he might end up putting some of the singers he has seen this
:19:46. > :19:49.week. John, the greatest singers on Earth
:19:50. > :19:52.pass through your doors - how do you rate the level
:19:53. > :20:00.of singing we're hearing? You ask yourself the question, can
:20:01. > :20:05.this person sustain a two-hour recital? Is there enough colour and
:20:06. > :20:12.interest in the voice and what they bring to the text, to the poetry?
:20:13. > :20:16.DeLaet at us, do they reach out and touch us and the stage? Have you
:20:17. > :20:20.heard that from some of the singers we have heard this week? Absolutely.
:20:21. > :20:24.It is a very, very close competition. I suspect we will be
:20:25. > :20:30.talking for a little while in the jury room. There were three
:20:31. > :20:35.exceptionally good performances. What is it like for you being on the
:20:36. > :20:40.other side of the arena, sitting with the judges, rather than being
:20:41. > :20:45.on the stage? It is lovely to be doling out the criticism, instead of
:20:46. > :20:50.receiving it. But I agree with John, it will be a difficult decision
:20:51. > :20:53.tonight. I enjoyed it better when you and I were sitting and having a
:20:54. > :20:58.punt as to who it was going to be, now the decision really counts, and
:20:59. > :21:00.it is difficult. I described one performance last year as like
:21:01. > :21:08.standing under a chocolate waterfall. I was right, and it was.
:21:09. > :21:13.Any that this year? There might have been bit of that. Any tears from
:21:14. > :21:18.you? We had Mary in tears a few moments ago. Yes, yes. I wouldn't
:21:19. > :21:22.like to say where and when, it might give the game away, but there were a
:21:23. > :21:26.lot of emotions in the performances tonight. If you are going to take
:21:27. > :21:29.your time to make a decision, we better let you go. Thank you very
:21:30. > :21:31.much indeed. Ailish Tynan and John Gilhooly.
:21:32. > :21:34.We are always overwhelmed by the calibre of our jury
:21:35. > :21:37.here at Cardiff Singer of the World and this year is no
:21:38. > :21:39.exception with the legendary Grace Bumbry joining the panel.
:21:40. > :21:41.Angel had the chance to sit down with Grace to discuss
:21:42. > :21:47.the importance of competition within the world of Opera.
:21:48. > :21:53.Grace Bumbry, you are a living legend, and it is such an honour for
:21:54. > :21:58.me to sit here today and be able to speak with you. Thank you. What does
:21:59. > :22:04.the competition mean to you? Competition is very important. In my
:22:05. > :22:10.first competition, it was in Saint Lewis, where I come from, and I lost
:22:11. > :22:13.that competition. That was the first and only one I ever lost, but it is
:22:14. > :22:18.important to have knowledge of how to compete. Just going to a
:22:19. > :22:24.competition is not really saying enough, you have to know how to
:22:25. > :22:27.compete. Know the rules of the game. What can such a high-profile
:22:28. > :22:33.competition with high profile judges, what can that do for a
:22:34. > :22:36.singer? This competition is, I think... Without flattering, I think
:22:37. > :22:43.it is the number one competition of the world. The number one. The cause
:22:44. > :22:46.of the fact that you have so much exposure, and you couldn't possibly
:22:47. > :22:55.pay for the publicity that you get. You can't pay for it. It comes with
:22:56. > :23:01.the package. It be foods you to really take part in this,
:23:02. > :23:08.. This is number one. What advice would you give to the singers for
:23:09. > :23:13.their careers in general? Piazon is with your voice as you can be. You
:23:14. > :23:21.might make a wonderful sound, a wonderful, warm sound, but is that
:23:22. > :23:26.your real voice? And its the real voice that takes you far. The voice
:23:27. > :23:31.needs to be allowed to happen, not make it happen.
:23:32. > :23:33.Well, thank you to Grace for being here, safe advice for any
:23:34. > :23:37.Now we are expecting the jury back any moment,
:23:38. > :23:40.so let's have a quick reminder of the singers we've heard tonight.
:23:41. > :23:51.The first of our two home finalists, Scottish mezzo Catriona Morison.
:23:52. > :23:55.Then, the second of our triumvirate of baritones,
:23:56. > :23:57.Ukrainian Iurii Samoilov, the effervescent soprano
:23:58. > :24:09.And finally, from Mongolia, baritone Ariunbaatar Ganbaatar.
:24:10. > :24:15.Let's get an opinion as to the rightful winner this evening from my
:24:16. > :24:20.guests. Mary King, it's your birthday today, happy birthday. And
:24:21. > :24:32.you have had several presents, I think, tonight. I have had a
:24:33. > :24:35.wonderful evening, actually. Louise was just so polished, such finesse,
:24:36. > :24:42.such musicianship, and Ariunbaatar was himself. John Mark, I know you
:24:43. > :24:46.have enjoyed yourself. I certainly have. I was listening to the singers
:24:47. > :24:50.earlier today in rehearsal, and I thought I knew definitely then, but
:24:51. > :24:54.having heard this evening, it has really thrown the cat amongst the
:24:55. > :24:59.pigeons. I agree that Catriona Morison from Scotland, and with all
:25:00. > :25:07.the former England, two Song Masters in the making. If I had to predict,
:25:08. > :25:15.I probably on this evening would give it to Louise Alder. Mary? I
:25:16. > :25:20.want there to be two prizes. I think both girls should get it. And I will
:25:21. > :25:27.just say the other person, Catriona Morison. There were things she did
:25:28. > :25:30.that were so imaginative and not obvious. I know the jury are coming
:25:31. > :25:32.on stage, thank you both very much indeed for being here, Mary King and
:25:33. > :25:47.John Mark Ainsley. Rish mezzo Ailish Tynan, John
:25:48. > :25:50.Gilhooly from London's Wigmore Hall, Austrian baritone Wolfgang Holzmair,
:25:51. > :25:52.the American mezzo Grace Bumbry. And with them their chairman,
:25:53. > :25:54.artistic director at Welsh National Opera David Pountney,
:25:55. > :25:56.competition patron, We have joint winners. Ladies
:25:57. > :26:43.first... Catriona Morison. APPLAUSE Gentleman second... Ariunbaatar
:26:44. > :26:48.Ganbaatar. APPLAUSE I don't know if you heard that from
:26:49. > :26:51.Mary King then. You said you wanted two winners. I
:26:52. > :26:57.have never heard of this before, but you have your wish. I do and I am so
:26:58. > :27:05.happy. Really happy for those two, for different reasons. He is a life
:27:06. > :27:10.force vocally, and she is a real artist, such an interesting artist.
:27:11. > :27:16.John Mark Ainsley, are you happy with joint winners? Absolutely.
:27:17. > :27:24.Catriona Morison, I concur, she is a power. The singer in the making, and
:27:25. > :27:28.this year force of personality and generosity. They will have two cast
:27:29. > :27:33.a new trophy, unheard-of event in the final of the 20 17th Cardiff
:27:34. > :27:35.Singer of the World Song prize. Catriona Morison from Scotland,
:27:36. > :27:39.Ariunbaatar Ganbaatar from Mongolia joint winners. And the weekend has
:27:40. > :27:43.only just started. Tomorrow, three of tonight's
:27:44. > :27:45.singers, Louise Alder, Catriona Morison
:27:46. > :27:47.and Ariunbaatar Gambaatar have to do it all again in the opera final,
:27:48. > :27:50.and they're up against tough competition in the shape
:27:51. > :27:52.of the Australian tenor Kang Wang, and the enormously impressive
:27:53. > :28:03.American Anthony Clarke Evans We will leave you with two winners
:28:04. > :28:09.of the 20 17th Cardiff Singer of the World Song prize.