Song Prize Final BBC Cardiff Singer of the World

Tonight, communication is key, as we test that intimate

bond between singer, pianist and listener.

Who can hold their nerve under the heat of a single spotlight?

It's time for song to take centre-stage at Cardiff

For nearly 30 years, June days in Cardiff have brought

a celebration not just of musical drama, but also something

And it's the Song Prize which has seen the talents

Bryn Terfel, Andrew Kennedy, Ailish Tynan,

and Christopher Maltman have all shown the close affinity British

and Irish singers have with the medium of song.

But what will the story of 2017 be, as our five song finalists

try to pierce the heart and etch their names on the trophy?

The stage is bare but for the piano that awaits our five young musical

storytellers hoping to take the Cardiff Singer of

A venerable history indeed for British and Irish contestants

here in the Song Prize - six out of the 14 winners so far.

I'm delighted also to welcome the acclaimed English tenor John Mark

Ainsley. I bet you have been asked a million times over the years, how'd

you impress a jewellery in a competition like this? If I knew the

answer, I'd be a very rich man! -- how do you impress the jury's

singing songs, remember you are not an opera house. However big a song

may seem. The exchange with song is an intensely personal one. Of

course, with all of the technique and the beauty of sound and the tone

that you want to give, we would really like to see something of use.

Mary, we are going to hear songs in German, version and French so far.

-- something of you. But the art of song is alive and well in Britain. I

think we relish the opportunity for miniature stories, something in

miniature. I sometimes think we don't produce great big operatic

voices so much these days but we really produce many fine musicians.

We will be hearing much from both of you as the evening progresses, thank

you very much. Ahead, over the next 1.5 hours,

songs by Schubert, Strauss, Tchaikovsky and Korngold,

as we hear highlights Three of tonight's contenders

are also in tomorrow's grand final. All five have already sung

on stage twice this week in the competition heats,

so it has been a demanding week. With them as they come off stage,

fellow singer Angel Blue. The stamina needed in these

circumstances is not Yes, absolutely. This has been a

very busy week for the singers. A lot of demands on their bodies,

minds and hearts as they compete for this coveted title. One of the

things that is very important for them is to make sure that they

maintain the stamina. Most of that comes from local rest, which is key

in this competition. -- vocal rest. Someone once said that

if opera is intoxication, Let's try and unravel

that mystery a little. Here are Angel and Mary

with their thoughts When I think of song, the most

important thing for me is fiction. Because I think that the artist, and

the pianist together, have this wonderful responsibility of taking

the audience on this journey. Because they are sort of everything,

they are the director, the conductor, along with the pianist.

And they get to have these moments of lengthy freedom. I don't know if

that makes sense, but that's what I'll call it, where they can show

their audience the deepest part of who they are as a singer. I think we

will see the string is off singers stretched in their language skills.

Not -- we will see the singers stretched. You are singing in

poetically dense language. These pieces were written many, many years

ago. Some of the language is very archaic. I know for myself, it is

hard sometimes to find a proper translation of things. Yes, maybe

they should all be sure to include things that are rough their native

language. You know, so that we can see what the differences -- that are

of their native land which. We can see how the imagination works, how

they express themselves in their own language, when of course they are in

the moment of the word. In the moment of the word. Yes, it is often

overlooked that the pianist has to be as responsible for the poetry as

much as the singer. One thing in Cardiff that is very particular is

that the company is and singer might have only met one week ago. And in

general, good relationships between jurors last many years. There is a

kind of subliminal connection, a bit like a marriage -- between two rows.

It is difficult to have all of this repertoire that can be emotional and

important to the singer in a very short amount of time, they have to

make sure that they make the connection. I'm looking forward to

the Song Prize. I just can't wait to see what they have chosen.

And all of them can be proud of getting this far.

379 applied from around the world, 19 took part in the Song Prize

rounds earlier this week, and just five are

Catriona Morison is the first of our home competitors tonight,

From Ukraine, it's the baritone Iuri Samoilov.

London-born Louise Alder carries English hopes tonight.

Then it's the mighty Mongolian baritone Ariunbaatar Gambaatar.

And to begin, one of our two American finalists this week,

Congratulations on making the Song Prize final. How do you feel?

Thrilled. I'm singing songs, one of my absolute favourite things. To

have this chance to do it on a bigger stage, to settle into some

different repertoire, I'm really, really excited, yeah. What are some

of the differences between opera and a song recital? How is the

discipline different? In an operator you have colleagues here, there is a

whole orchestra. -- in an opera. The conductor is taking care of so much.

You have a costume and make-up, maybe there is a wig that you have

to worry about. You are just pulled 100 different ways. For me, being on

stage, just you and the pianist, that is all there is, it's just you

and the music. You are very vulnerable. You have to feel very

comfortable and honest about the emotions that you are feeling. And I

found out early on, the more general I made it, I tried to include

everybody, and it didn't work. The specificity is actually where the

power is. People experience you experiencing your pain or muff or

joy or whatever. John wowed the audience in his heat

with soulful American sounds from the pen of Aaron Copland,

but tonight it's an all German language programme, beginning

with the music of Franz Schubert. The poet rides away

from his beloved, enjoying the colourful vistas around him,

but his head is filled To the hyper-romantic

world of Richard Strauss, John Chest has a secret

invitation for us. The poet longs to find

a suitable moment to slip away While all their friends

are still revelling, they'll make love under the rose

bushes in the garden. Who has done this. Song by the

American baritone John Chest. John Chest inspired by

that famous battle of the baritones between Bryn Terfel and

Dmitri Hvorostovsky back in 1989. Three baritones in this year's

final. Let's get the immediate thoughts of my guests. Very crafty,

isn't he, as a performer, John Chest. Yes, although I have to say,

the occasion may be slightly got to him. There was an intense look

concentration, which made him look stern. Strauss his most successful

songs. Even though, he did a song about the expectation of blissful

loving in a garden. Right at the end, when it was all over, we saw

him smile. I just wish he had had the presence of mind to offer us

that at some times during the programme. Although, extremely

accomplished singing. He has been singing in Germany, it may explain

the German open, but what about the judging? If you sing all in one

language in one short space of time, it is easier to stay in that style,

of course. But it also means you can't show different aspects of your

personality that a French or Spanish repertoire might give you. Let's go

backstage and join Angel." How Do You Feel? I Have Had A Drink Of

Water. Was It What You Expected? I was on stage the other night, but it

is different to hear the piano. It didn't go exactly how I hoped, but

it never does, and that is what is beautiful about doing things at

this. It was a crafted performance, well thought out, Bravo and

congratulations to you. This man hiding in the back gets credit.

Bravo to both of you. Our jury is as you would expect, what will it take

to impress the jury deceiving? -- this evening.

We are looking for singing of the highest standard, interpretation of

the highest standard and the special factor where it comes across as

timeless. Ailish Tynan knows what it takes

to win this competition - she took the song prize back in 2003

John Gilhooly is director at London's Mecca of song

and chamber music - Wigmore Hall From America we welcome

the charismatic and enormously I need to see that you really

understand that piece of music, and how you present it to your audience.

One of the finest lieder singers of today, baritone Wolfgang Holzmair

brings three decades of recital experience to Cardiff And

finally David Pountney takes the jury chair -

he's artistic director at Welsh National Opera.

He has to change within seconds or moments completely from one mood to

the other, from one atmosphere to the other, from one style of song to

the other style. finally David Pountney

takes the jury chair - he's artistic director

at Welsh National Opera. inflection, and above all, it is

about the words. It's a full 12 years since we last

had a Scottish representative here, and Catriona Morison has made it

into both finals. Congratulations on making it to the

final. Thank you very much. How do you feel? Totally excited about it.

It is quite unbelievable. I had the best time on stage in the first

round, I really enjoyed it. Hopefully, I can do that on the

night as well. You currently live in Germany, so you must know so much

about lieder. What makes for a great lieder singer Reece a lot of my

programme is German. I love singing in German. I love being able to use

the language expressively. And what makes a good lieder singer is using

the text and creating a connection with the text and the music. It is

so exposed, does that ever make you nervous? It is so excused, but there

is a beauty in that as well. I was thinking recently about there being

another Katrina in the audience somewhere, and I am communicating

through her somehow, if that makes sense, and opening that out in the

audience as well, so that it is not just insular, almost.

Catriona will sing a song by the Scottish

But first, to early 20th century Vienna, and Schoenberg's cycle

Fountains in the form of mythical animals,

and flowers like stars surround two lovers.

APPLAUSE A beautiful dream next. Our hero in

a leafy glade by a stream, in love with a beautiful girl, and the dream

becomes real. Pierre Vellones was the pseudonym

of French composer Pierre Rousseau, who set to music epitaphs

that he found on gravestones. And to finish, a Glasgow doctor

who became a composer - Buxton Orr. A text in Scots dialect

from our Scottish entrant. 20th-century composer Buxton Orr

evokes a one-man band One-man band from a songs of

childhood by Buxton Orr. Let's hear from John Mark and Mary

King. The words Scotland the Brave at the end of the programme! That is

artistry without artifice. That's so much personality, so much

individuality. She is absolutely wonderful, I adore her. What a

lovely, clear communicator. What a wonderful storyteller and a great

sense of humour in that last song by Buxton or stop will I can't speak

highly enough about that sort of singing. She led with great position

and honesty through every emotion in that landscape. The voice itself is

wonderful. I just think this is a singer with a real sensibility for

song. Whatever she decides to do with her career I very much hope she

will keep it in her programme. The more familiar repertoire, the Greek

song? It was sublime, sublime. And she is fabulous. I'm speechless,

really. I'm afraid I had a little moment, we won't talk about it. Very

early on to start shedding a tear. Thank you very much early on.

Katriona is there with Angel Blue. Fabulous job, you embody everything.

And you keep the tension going throughout your programme. How do

you manage that? That's nice to hear, thank you. I think Disraeli

getting underneath the text, how that is in partnership with the

music -- I think it is really getting underneath the text. And

just living every second of it. We enjoyed your programme so much,

thank you. That's all from backstage, back to you.

If there was prize for sartorial elegance at Cardiff Singer,

our next singer would definitely be in with a shout.

From Ukraine, 28-year-old Iurii Samoilov.

I must say, I quite enjoy singing songs. It is a much closer

connection between you and your company asked. Between the two

review, it is easy to create some people rather than trying to drag

people from the orchestra and make them follow you. It is much harder.

When you were giving these beautiful recitals, are you thinking of

anything specific? I'm a very energetic person. Like when I meet

somebody, I don't not for the smile or for what people say, I go for the

energy, you know, the same that I try to do on stage while singing

songs. I try to transmit energy. What makes a great Lieder singer?

Many things. I think the most important thing is your heart, of

course. Just an honest and open person can really change something.

And present something different from anybody else. Let people feel what

you feel. Iurii counts former winner

Dmitri Hvorostovsky as one of his heros, and he's beginning

with one of Hvorostovsky's calling The poet catches sight of someone

in the midst of a crowded ball At night he can hear her

laugh and see her eyes. To Italy now, and a tale

of love gone bad - If you're not in love with me,

then I won't love you back. To Russia to finish,

and the music of Rachmaninov - a composer particularly close

to Iurii's heart. He sang a Rachmaninov song

in his main prize round as well. Rachmaninov, sung by Iurii Samoilov

from Ukraine. He has sung Grimes in Frankfurt

and Billy Budd in Moscow. I wondered if he might have

been tempted to include some Let's go straight to John Mark

Ainsley, did you enjoy that? Yes, I had a bath in that sound, it was

wonderful. Earlier on, I said I hoped the singers wouldn't step onto

the opera stage with their song singing. I had a suspicion that the

stage door was ajar. He felt very comfortable. Clearly, and he clearly

loves to perform. But I will say, his first song, the Tchaikovsky, one

of the most famous Russian songs, very hard to bring off with a shadow

of all the famous performances over you, but he really brought it down

to his own level with his half voice that he used to great effect. And it

was wonderful to hear him sing in Russian, one of his home languages.

Yes, and I liked him much better tonight than I did in the main

prize. I don't quite know why. I find him blustery in the main prize.

There were a few months when he was pressing down to darken the time.

Sometimes you get flat singing. When it is beautiful, it is ravishing and

he is utterly committed. Thank you both very much. Backstage to hear

from Iurii with Angel. What a great programme you had. How important

were the pieces that you sang tonight? This music is close to my

heart, and I have sang these pieces already many times. I am grateful

that I did the programme this way. The audience, I thought they liked

it as well. I thought so, too. It was emotional, full of colours and I

think it was interesting. Congratulations on making it to this

round, and I wish you the best of luck. Thank you very much. Iurii was

a big hit with the view was early in the week. Many thought he was

unlucky in the opera round. Don't forget, there is one win in this

competition chosen by you. Your chance to overall our jury. Voting

is now open, you have until 2pm on Sunday afternoon to register your

vote. All the details, including clips for the competitors is on the

Cardiff City website. You can watch all our programmes via the eye

player. Plenty of people are tipping our

next singer as a real star of the future.

Now, don't go anywhere, because there are plenty of people

tipping our next singer as a real star of the future.

She's a home entrant, too - English soprano Louise Alder.

Want is the biggest difference between singing songs and singing

and opera concert? I think you can be more flexible when you sing

lieder. With the piano, you are amazingly free to be able to really

make soft singing, and also let rip, of course. But I think it is the

variety that makes something a bit more special.

Do you have a favourite language to sing in? My least favourite language

is English! It is hard to sing in because our vowels are long. I find

it is difficult for singing technique for a classical singing

technique. It is easier if you are American, Irish or Scottish or where

your bowels are broader. I am really, really lucky to do

something that I enjoy so much, so I couldn't be happier to be out on

that stage. Maybe that is what comes through, because I am nervous

underneath! A real excitement surrounding

Louise Alder this week, and she's starting with an absolute

gem from the classical reportoire, Schubert's image of a trout

swimming in sparkling waters. But watch out, because there's

a fisherman ready to pounce. A chance to see how Louise measures

up to our first competitor now, John Chest from the US,

as Louise takes us back to that secret assignation

under the rose bush, Louise is a big fan

of 20th-century song - So no surprise she's taking

us into that territory The endlessly fascinating

and occasionally eccentric Poulenc, with some surrealist imagery

from the poet Louis Aragon. An incredibly busy

week for Louise Alder. She's busy preparing for tomorrow's

opera final as well, and for good measure has had to fit

in final performances of Strauss's Der Rosenkavalier

at Welsh National Opera. I think we will go to Mary King

fast. She is a class act, isn't she? I cannot believe that anybody would

have that much control and then as under these circumstances,

competition circumstances. It absolutely extraordinary -- control

and finesse. I'm in bits, talk to him! Let's talk about the Strauss.

There was a moment when you just want, oh, like this, with pleasure!

I couldn't quite believe what I was hearing because it was so perfect.

This for me is absolutely the real deal. She's in complete control of

the instrument. She's always in the moment of the song and sharing it

with us. I mean, it's just remarkable what she achieved this

evening, I think. Oh, I went three times. I mean, this is a record.

It's beautiful but it is still. She never does anything more than she

has do and she does incredible things. And she makes them look

super easy. It is so generous, it is such a generous, easy performing,

great skill, but not showing how difficult it is. And the subtle way

she paints the emotions, they are not overblown. The deep melancholy

and the bitter irony and the rapture of the Strauss. I'm completely

overwhelmed by it. I think that is a big tick from both of you! Lets go

backstage and joint angel. That is a mouthful! How did the programme

feel? It felt good, I think. It's so wonderful to stand up there and do

such a different radio things. I feel very lucky to be here. You are

doing a lot of singing right now. Yes, we all asked up yellow just

pacing yourself as you go? Yes, not singing too much during the day and

trying to take rest when I can. Best of luck to you.

A reminder that we're just one night away from our opera final

We'll be here every step of the way, as will no fewer than three

Worth remembering two singers have done the double

here at Cardiff Singer - most recently the immensely

popular American winner Jamie Barton in 2013.

Now, all illustrious careers have to start somewhere,

and in the case of our final singer, that somewhere was driving a cab

In got the local police chief, who signed him up

And who'd have predicted that that fare would eventually bring him

You had a great opera programme full of wonderful music that using so

well. What is the biggest difference for you? How do you refocus from

operetta recital? -- from operetta to recycle.

When you are on stage, who are using into? -- who argue singing too.

If there is one thing you are trying to convey, what is it?

It was an all-Verdi programme which took Ariunbaatar

to victory in his opera round, but tonight he's all set

First, the music of Schubert, and a serenade - the text taken

Ariunbaatar us taking us home with him now,

as fellow Mongolian composer Sharav Byambasuren transports us

to the pure air and calming plains of the mighty Steppes.

A trip to Mongolia with Ariunbaatar Ganbaatar, ending his entry for

Cardiff Singer of the World 2017 song prize. The 29-year-old

baritone, the last singer to appear in this final.

Let's go straight to my guests, it looks like you need a bit of that

pure air of Mongolia. I can't speak. I find it unbelievably moving. Why?

You want me to speak! There is something about what he represents,

I suppose, just singing in that language, to hear him singing in his

own language, and the immense sharing, the generosity of his

performing at the voice is overwhelmingly beautiful. But it's

not that, it's the generosity, the spirit. I can't really speak any

more, it's not fair. John Mark Ainsley, don't cry. I am not crying,

but I am moved by what he just did. He is a force of nature as much as

he is a singer. Generosity, I think, is the word, not only of voice, but

with spirit. He pours himself into all of these songs. I am not sure

his future lies in the recital room, but whatever he decides to do, it is

certainly going to be a major, major talent. What about the serenade that

opened his performance? Again, it is very heartfelt. But not his natural

repertoire. For Schubert, and some of the other repertoire that he

sang, you need a slightly more this print and precise approach if you

are really going to be a world leader in that repertoire, but it

was winning to hear. What about the Tchaikovsky that we heard? The

Tchaikovsky suited him down to the ground. It is melodic, it is overly

emotional, and you could see him responding to being able to pour

himself into the melody. I really do think that he has a great, great

future in front of him. Mary, you have cleared your eyes a little.

Yes, it is just so beautiful. Beautiful, beautiful singing. Thank

you. Let's go backstage and join Angel.

An amazing performance that you just gave, I could see the heart of

Mongolia and feel the heart of the people and see the blue skies you

talked about. You must be proud to bring this music to us.

TRANSLATION: There is nothing to compare how I feel now by bringing

this Mongolia composer's song to this great stage of the competition.

Thank you very much, best of luck to you, Bravo. Thank you.

This is the moment each night when we have interrogated one of the

juror was on the way to the jury room. Tonight, I have lured to a

them to join me, Ailish Tynan, who won the prize back in 2003, and John

Gilhooly, he might end up putting some of the singers he has seen this

week. John, the greatest singers on Earth

pass through your doors - how do you rate the level

of singing we're hearing? You ask yourself the question, can

this person sustain a two-hour recital? Is there enough colour and

interest in the voice and what they bring to the text, to the poetry?

DeLaet at us, do they reach out and touch us and the stage? Have you

heard that from some of the singers we have heard this week? Absolutely.

It is a very, very close competition. I suspect we will be

talking for a little while in the jury room. There were three

exceptionally good performances. What is it like for you being on the

other side of the arena, sitting with the judges, rather than being

on the stage? It is lovely to be doling out the criticism, instead of

receiving it. But I agree with John, it will be a difficult decision

tonight. I enjoyed it better when you and I were sitting and having a

punt as to who it was going to be, now the decision really counts, and

it is difficult. I described one performance last year as like

standing under a chocolate waterfall. I was right, and it was.

Any that this year? There might have been bit of that. Any tears from

you? We had Mary in tears a few moments ago. Yes, yes. I wouldn't

like to say where and when, it might give the game away, but there were a

lot of emotions in the performances tonight. If you are going to take

your time to make a decision, we better let you go. Thank you very

much indeed. Ailish Tynan and John Gilhooly.

We are always overwhelmed by the calibre of our jury

here at Cardiff Singer of the World and this year is no

exception with the legendary Grace Bumbry joining the panel.

Angel had the chance to sit down with Grace to discuss

the importance of competition within the world of Opera.

Grace Bumbry, you are a living legend, and it is such an honour for

me to sit here today and be able to speak with you. Thank you. What does

the competition mean to you? Competition is very important. In my

first competition, it was in Saint Lewis, where I come from, and I lost

that competition. That was the first and only one I ever lost, but it is

important to have knowledge of how to compete. Just going to a

competition is not really saying enough, you have to know how to

compete. Know the rules of the game. What can such a high-profile

competition with high profile judges, what can that do for a

singer? This competition is, I think... Without flattering, I think

it is the number one competition of the world. The number one. The cause

of the fact that you have so much exposure, and you couldn't possibly

pay for the publicity that you get. You can't pay for it. It comes with

the package. It be foods you to really take part in this,

. This is number one. What advice would you give to the singers for

their careers in general? Piazon is with your voice as you can be. You

might make a wonderful sound, a wonderful, warm sound, but is that

your real voice? And its the real voice that takes you far. The voice

needs to be allowed to happen, not make it happen.

Well, thank you to Grace for being here, safe advice for any

Now we are expecting the jury back any moment,

so let's have a quick reminder of the singers we've heard tonight.

The first of our two home finalists, Scottish mezzo Catriona Morison.

Then, the second of our triumvirate of baritones,

Ukrainian Iurii Samoilov, the effervescent soprano

And finally, from Mongolia, baritone Ariunbaatar Ganbaatar.

Let's get an opinion as to the rightful winner this evening from my

guests. Mary King, it's your birthday today, happy birthday. And

you have had several presents, I think, tonight. I have had a

wonderful evening, actually. Louise was just so polished, such finesse,

such musicianship, and Ariunbaatar was himself. John Mark, I know you

have enjoyed yourself. I certainly have. I was listening to the singers

earlier today in rehearsal, and I thought I knew definitely then, but

having heard this evening, it has really thrown the cat amongst the

pigeons. I agree that Catriona Morison from Scotland, and with all

the former England, two Song Masters in the making. If I had to predict,

I probably on this evening would give it to Louise Alder. Mary? I

want there to be two prizes. I think both girls should get it. And I will

just say the other person, Catriona Morison. There were things she did

that were so imaginative and not obvious. I know the jury are coming

on stage, thank you both very much indeed for being here, Mary King and

John Mark Ainsley. Rish mezzo Ailish Tynan, John

Gilhooly from London's Wigmore Hall, Austrian baritone Wolfgang Holzmair,

the American mezzo Grace Bumbry. And with them their chairman,

artistic director at Welsh National Opera David Pountney,

competition patron, We have joint winners. Ladies

first... Catriona Morison. APPLAUSE Gentleman second... Ariunbaatar

Ganbaatar. APPLAUSE I don't know if you heard that from

Mary King then. You said you wanted two winners. I

have never heard of this before, but you have your wish. I do and I am so

happy. Really happy for those two, for different reasons. He is a life

force vocally, and she is a real artist, such an interesting artist.

John Mark Ainsley, are you happy with joint winners? Absolutely.

Catriona Morison, I concur, she is a power. The singer in the making, and

this year force of personality and generosity. They will have two cast

a new trophy, unheard-of event in the final of the 20 17th Cardiff

Singer of the World Song prize. Catriona Morison from Scotland,

Ariunbaatar Ganbaatar from Mongolia joint winners. And the weekend has

only just started. Tomorrow, three of tonight's

singers, Louise Alder, Catriona Morison

and Ariunbaatar Gambaatar have to do it all again in the opera final,

and they're up against tough competition in the shape

of the Australian tenor Kang Wang, and the enormously impressive

American Anthony Clarke Evans We will leave you with two winners

of the 20 17th Cardiff Singer of the World Song prize.