Alessandro Fisher (tenor, above), Gary Matthewman (piano, below)
Bellini Malinconia, ninfa gentile, Per pietà bell’idol mio, Ma rendi pur contento (all 1829)
Donizetti Me voglio fa’ ‘na casa (1837), Lu trademiento (1842)
Verdi Il poveretto (1847), Il tramonto (1845), Brindisi (1845)
Tosti ‘A vucchella (1907), Sogno (1886)
Hahn Venezia (1901)
Sheldonian Theatre, Oxford
Wednesday 17 October 2018
Written by Ben Hogwood
The spectacular round of the Sheldonian Theatre proved the ideal setting for tenor Alessandro Fisher and pianist Gary Matthewman, with an attractive Italian recital continuing the Grand Tour theme of the Oxford Lieder Festival.
Fisher proved a consummate storyteller, and his asides to the audience between songs were ideally judged and set the music of the concert in context. There was deep, romantic love, humour and much merrymaking to be had over the course of the hour!
Photo (c) Johan Persson
Fisher and the ever-attentive pianist Matthewman filled the first half of their recital with songs from Italian composers known primarily for their opera – and indeed it did feel as though the tenor was singing excerpts from bigger, stage-bound works. The Bellini songs were straight and to the point – melodic and responsive to their text. Donizetti showed off the voice in Me voglio fa’ ‘na casa (I want to build a house) but cut straight to the heart in Lu trademiento (The treachery).
Three songs by Verdi were of rich variety – the downtrodden Il poveretto (The poor man) led to the rather moving Il tramonto (Twilight) before Fisher and Matthewman cast all cares aside for Brindisi (A toast). Sporting a different musical response to the famous aria of the same name from La Traviata, this was a riotous celebration of wine.
The songs of Tosti are highly respected but still quite rare in concert hall recitals, so it was good to hear a consummate master of the form at work in ‘A vucchella (A sweet mouth) and Sogno (Dream), passionately sung.
The concert’s second part told the story of Hahn’s Venezia, where Matthewman painted the watery settings of the opening song Sopra l’acqua indormenzada (Upon the sleeping waters), the undulations of La barcheta (The little boat) and the heady atmosphere of La biondina in gondoleta (The fair maiden in a gondoleta). Fisher was a very entertaining guide to the ups and downs of love in Venice for the subject, no more so than in Che peca! (What a shame!) where he had all the requisite mannerisms to cast off his ‘only thought’ Nina, to the amusement of the audience – but perhaps the best was left for last, a celebration of La primavera (The springtime) to round off the cycle in some style.
Fisher’s bright tenor sound was also ideally suited to the encore, Leoncavallo’s Mattinata, which provided further evidence of the strength of his partnership with Matthewman. With such colourful song set under the equally bright roof of the Sheldonian, it was a match to remember.
You can hear the repertoire from this concert on the Spotify playlist below. Alessandro Fisher has yet to record any of the Italian songs, so leading alternative versions have been used:
Meanwhile Fisher himself appears in a new recording from Classical Opera and Ian Page of Mozart’s Grabmusik and Bastien Und Bastienne: