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SINGER BAYRAKDARIAN ILLUSTRATES HOW MUSIC TRANSCENDS LANGUAGE
By: Gwenda Nemerofsky
Winnipeg Free Press
Sept 14 2012
Canada
IF you ever doubted that music could transcend language, Wednesday
night's Manitoba Chamber Orchestra (MCO) concert would have changed
your mind.
Guest artist, spectacular Armenian-Canadian soprano Isabel Bayrakdarian
sang in Greek and Armenian. Audience members were provided lyric sheets
with translations, but who wanted to read fussy bits of paper when
Bayrakdarian was onstage? This musical treasure told us everything we
needed to know with her limpid voice, impassioned facial expressions
and graceful gestures. No words necessary.
The concert was introduced by the always debonair CBC Radio 2
personality, Bill Richardson. Conductor Anne Manson was at the helm
for this 40th anniversary season opener.
Gourmet candy
Bayrakdarian began with Five Greek Songs by Maurice Ravel, arranged
by her husband Serouj Kradjian. It was evident from the singer's
appearance that the couple is expecting an addition to their family
soon, but this did not affect her gorgeous voice. The song cycle
resembled a box of gourmet candy, each piece more deliciously tempting
than the last.
Song of the Bride was immediately lilting, full of colour and power.
Yonder, Near the Church had a somewhat melancholy tenor, rendered with
long seamless phrases that were satisfyingly assertive. Bayrakdarian
is so communicative, possessing a unique style that makes you feel
that she is singing right to you. The soulful Song of the Lentisk
Gatherers displayed her purity of tone, full of emotion and subtle
inflection. And All Merry! was a dance in song form, bursting with
playfulness.
The addition of the separate Ravel song, Tripatos was joyous fun,
Bayrakdarian almost laughing as she sang.
She also performed 18th-century Armenian composer Sayat-Nova's Four
Songs, arranged by Kradjian. One couldn't help but be struck by
the modern tunefulness of the poignant first song Kani Voor Janim,
Bayrakdarian's voice carrying effortlessly through the hall. Versatile
concertmaster Karl Stobbe matched her emotion in his solo violin
passages in Blbooli Hit, which was steeped in sorrow, his sensitive
playing well-controlled. We felt we had travelled back in time to an
earlier Armenia. The spirited Kamancha was an ode to the Armenian bowed
instrument. Bayrakdarian's weighty voice crafted this beautifully,
deftly shaping phrase endings, imbuing it with personality. You really
couldn't ask for more.
The concert ended with Manson and the MCO whisking us off to Dvorak's
Czech countryside in a rousing performance of his elegantly substantial
Serenade for Strings.
This is a work that shows the composer's love of the instruments
-- and he gives everyone a chance to shine. Overall, the musicians
made the most of the opportunity, sweeping us up in the introductory
melody with smooth bowing and effective nuance. The tempo di valse
was wonderfully textured, only marred by a few stray violins letting
their colleagues down with squeals and untidy notes. But the scherzo
brimmed with life, violins scampering brightly and the finale was
suitably upright and urgent. A nice start to the season.
http://www.winnipegfreepress.com/opinion/columnists/singer-bayrakdarian-illustrates-how-music-transcends-language-169741136.html
By: Gwenda Nemerofsky
Winnipeg Free Press
Sept 14 2012
Canada
IF you ever doubted that music could transcend language, Wednesday
night's Manitoba Chamber Orchestra (MCO) concert would have changed
your mind.
Guest artist, spectacular Armenian-Canadian soprano Isabel Bayrakdarian
sang in Greek and Armenian. Audience members were provided lyric sheets
with translations, but who wanted to read fussy bits of paper when
Bayrakdarian was onstage? This musical treasure told us everything we
needed to know with her limpid voice, impassioned facial expressions
and graceful gestures. No words necessary.
The concert was introduced by the always debonair CBC Radio 2
personality, Bill Richardson. Conductor Anne Manson was at the helm
for this 40th anniversary season opener.
Gourmet candy
Bayrakdarian began with Five Greek Songs by Maurice Ravel, arranged
by her husband Serouj Kradjian. It was evident from the singer's
appearance that the couple is expecting an addition to their family
soon, but this did not affect her gorgeous voice. The song cycle
resembled a box of gourmet candy, each piece more deliciously tempting
than the last.
Song of the Bride was immediately lilting, full of colour and power.
Yonder, Near the Church had a somewhat melancholy tenor, rendered with
long seamless phrases that were satisfyingly assertive. Bayrakdarian
is so communicative, possessing a unique style that makes you feel
that she is singing right to you. The soulful Song of the Lentisk
Gatherers displayed her purity of tone, full of emotion and subtle
inflection. And All Merry! was a dance in song form, bursting with
playfulness.
The addition of the separate Ravel song, Tripatos was joyous fun,
Bayrakdarian almost laughing as she sang.
She also performed 18th-century Armenian composer Sayat-Nova's Four
Songs, arranged by Kradjian. One couldn't help but be struck by
the modern tunefulness of the poignant first song Kani Voor Janim,
Bayrakdarian's voice carrying effortlessly through the hall. Versatile
concertmaster Karl Stobbe matched her emotion in his solo violin
passages in Blbooli Hit, which was steeped in sorrow, his sensitive
playing well-controlled. We felt we had travelled back in time to an
earlier Armenia. The spirited Kamancha was an ode to the Armenian bowed
instrument. Bayrakdarian's weighty voice crafted this beautifully,
deftly shaping phrase endings, imbuing it with personality. You really
couldn't ask for more.
The concert ended with Manson and the MCO whisking us off to Dvorak's
Czech countryside in a rousing performance of his elegantly substantial
Serenade for Strings.
This is a work that shows the composer's love of the instruments
-- and he gives everyone a chance to shine. Overall, the musicians
made the most of the opportunity, sweeping us up in the introductory
melody with smooth bowing and effective nuance. The tempo di valse
was wonderfully textured, only marred by a few stray violins letting
their colleagues down with squeals and untidy notes. But the scherzo
brimmed with life, violins scampering brightly and the finale was
suitably upright and urgent. A nice start to the season.
http://www.winnipegfreepress.com/opinion/columnists/singer-bayrakdarian-illustrates-how-music-transcends-language-169741136.html