Surface-level: Sarah Connolly at the Wigmore
Sarah Connolly and Malcolm Martineau
Wigmore Hall
Stalls E3, £5 (under-35s)
23 July 2019
Wigmore page
Programme
Brahms: Ständchen, Da unten im Tale, Feldeinsamkeit, Die Mainacht, Von ewiger Liebe
Mahler: Kindertotenlieder
Wolf: Auch kleine Dinge, Gesang Weylas, Nachtzauber, Kennst du das Land, Die Zigeunerin
Bridge: Day after day, Speak to me my love
Howells: King David, Come sing and dance
Encore
Gurney: Desire in spring
In honesty there is little that sunk in with me in this recital, classy though Sarah Connolly was and dexterous though Malcolm Martineau was, as they both seemingly always are. With the exception of the Kindertotenlieder this is music I either admire but so far have little passion for (the Brahms and Wolf) or don’t know and don’t yet care to know better (the Bridge, Howells and Gurney). I’m sure the songs couldn’t wish for a more tasteful handling than they received from Connolly and Martineau, but my impression of the evening is of a gently passive enjoyment, rather than an active interest.
Is that something I should complain about? Connolly is so competent and so controlled, and feels anything but cold in her operatic performances. But I wonder if she enjoyed this recital. I’m sure she took pleasure in the music and the sophisticated programme, and the intimacy with Martineau. Intimacy with the audience, however, is another matter. I felt the presence of a hard veneer, a protective shield that let through technical mastery but held back passion and purpose. I’ve heard far rougher Kindertotenlieder but I’m not sure I’ve heard a cooler.
I’m not sure I should complain: Connolly is a singer of beauty and elevated musicianship. And perhaps I’m just annoyed with myself that the main thing I took from this recital was an admiration of Connolly’s palimpsest-y dress.
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