Vilabertran Schubertíada
Performers: Erika Baikoff, soprano; James Baillieu, piano ★★★ and Christoph Prégardien, tenor; Daniel Heide, piano
Place and date: Canonical de Vilabertran (16 and 17/VIII/2023)
A fact that shows this start of the Schubertíada is that the generational renewal is already a reality. And not only are institutional efforts dedicated to increasing this in the future, as is the case these days in Vilabertran under the umbrella of maestro Prégardien, but the inauguration of the festival has been highlighted with a new figure such as the young soprano Erika Baikoff, followed the next day by precisely the same great tenor Christoph Prégardien, already full of experience, and pride of a generation that was born almost contemporary with this adventure that Jordi Roch began in Vilabertran, and that is now opening doors to new figures . Some of us have had the fortune to also listen to Life Victoria.
And speaking of privileges, value the fact that in these two Catalan monographic venues it is possible to share the beauty of these repertoires in small spaces, almost a living room, more akin to the genre.
And speaking of genre, although in another sense, a question that perhaps fits in these times in which progress is being made in original interpretations with vocal techniques and period instruments: is there a question of gender for the lied? In principle no, because each one contributes important elements, although with nuances. In what sense? Listening to the interpretation that Prégardien has left us in this sensitive version of Schubert's lieder from the Schwanengesang , intermediated with those of Wilhelm Meister, leads me to think about its closeness to Schubert's original thought when creating and interpreting them.
Prégardien knew how to value the importance of the word and build musicality from it, making his own, with the naturalness of seniority, in addition, nuances, accents, the gradations of intensity starting, sometimes, from the whisper; to show, as in In der Ferne, the luxury of that baritone nuance and the clarity and limpidity of the treble, speaking to the audience with eloquence and diction (An Meer).
His recital was a sample of art, magnificent Heide's piano version, personal and rich. Another sample of generational change since Rieger, which leads us to underline another nuance of genre in which pianists dominate.
And applause also for James Baillieu who accompanied the magnificent Erika Baikoff. The soprano contributed, in addition to her quality, her pristine voice, musicality and sweetness in timbre and emission, the quality of a noucentista Russian repertoire of Rimsky and Tchaikovsky with great richness in piano accompaniment, well complemented at the end by Rachmaninov. Baikoff seemed very comfortable in terms of the language, which added character to her performance. Congratulations, a good start, and thanks for letting us be part of these meaningful aesthetic experiences.
