Recital by Macann

Press, 5 December 1985, Page 8

Recital by Macann

Rodney Macann, bass-bari-tone, presented by the New Zealand Opera Society, Canterbury Branch, at the State Trinity Centre, December 4, 8 pan. Reviewed by Philip Norman. Rodney Macann’s recital at the State Trinity Centre last evening was enjoyable. Informal and low-key, it comprised a selection of items from the singer’s past, current, and future operatic roles. . These items were introduced with informative explanations, peppered with often amusing anecdotes. The centre-piece of the short concert was a presentation,of three ex from Tippett’s opera, .King Priail ” ror which Macann

has recently taken the title role in productions by both Kent Opera and Covent Garden. These excerpts revealed a melodic writing by the composer of often extraordinary power and emotional intensity. Macann, with his rich, dark tones and commanding presence, was able to slip into the troubled, dramatic pitch of the music with ease.

The first monologue, where the King was debating whether to kill his child, Paris, to save the crown, was effectively tense. The third excerpt, from the climactic scene, where Priam hears of the death of his son, Hector, was riveting.

“Why? Why?” the voice

questioned with haunted desperation. Two arias from Macann’s role in Handel’s “Xerxes” were delivered with happy humour and effective pomp. An aria from Weber’s “Der Freischutz” was given with pleasing colour, as was one from Ponchielli’s "La Giaconda.”

Closing the recital was a shortened first verse from the Toreador Song of “Carmen.” The singer’s voice, it became apparent, needed more time to work into this higher baritone role. Rodney Macann was accompanied by Maurice Till, who read his way with creditable precision through the selection of demanding piano