(4 / 5)

It’s been over a decade I’d say since last seeing the great Sarah Connolly. Now a Dame, one of England’s finest mezzos spent an evening at Wigmore with a inspired programme. Whilst Imogen Cooper could not make it on piano (a decision apparently made months ago), Joseph Middleton gave the honours.

In an all German first half, it was everything I’d ever need. In Schumann’s 6 Gedichte von N Lenau und Requiem (bare with me, this is correct), we got a splendid account from Connolly. Her German sounds great and is a lovely actor too, the sensuality and aching in the verse bleeds out. Her voice never overbears at all. The mezzo is finely crafted, the gusto she brings but a thrill to all. These German themes would continue with Huge Wolf and a fine selection of his songs. These too were superb, dare I say even more thrilling than the prior. A rich evocative nature was the aura of these, Middleton also as strong in these allusive bars which never gave away all their secrets.

After the break, a breakneck voyage to France, England and the United States. Debussy’s Chansons de Bilitis, was a deeply allusive set of three magical songs filled with merriment. Henri Duparc (who usually crops up at French recital’s) had the Extase in this continuation of the Gallic themes. Not as perceptive as the Debussy, though light and bright, filled with smiles. A selection of Benjamin Britten folk arrangements charmed, even with his stuffy ironies. ‘Sephestia’s Lullaby’ from A Charm of Lullabies was a stand out, a whiplash delivery in a nursery rhyme patter, so fetching the audience lapped it up. An end with songs of Samuel Barber was a more solemn turn, the solemn words of James Joyce ringing true. ‘Sleep now’ one of a few surprises, it was just a bit dreary to end with. Still the musicianship was razor-sharp, as expected.

The encore was Tangoes by Richard Rodney Bennett, what finer way to send us off?