Singing an evening of German lieder is one of the most daunting assignments that anyone can attempt, but when a singer as gifted as Roderick Williams does it, listeners are in heaven. That’s what I experienced (October 29) at First Presbyterian Church, when Williams gave a recital of songs by Franz Schubert in a concert sponsored by Chamber Music Northwest. Accompanied by pianist Myra Huang, Williams displayed consummate artistry in his performances of the Schwanengesang sprinkled with a few other Schubert numbers, resulting in a superb concert that reached beyond the words and the music.
Although not a household name in the U.S., Williams is a known quantity in his native England where he has been bestowed with the OBE (Order of the British Empire) title. His rich baritone voice has been heard at the Royal Opera House, Covent Garden, Dutch National Opera, and many other opera houses. Among his many accolades, he sang at the Coronation of King Charles III last year.
Williams’ collaboration with pianist Huang was uncanny and absolutely seamless. He didn’t even need to give her a signal at the beginning of a piece. Huang, who is head of music at the Metropolitan Opera’s Lindemann Young Artist Development Program and also for the Aspen Opera Theater Vocal Arts Program, enhanced each selection with incredibly sensitive playing, adding to the emotional intensity of each piece.
One of the great things about William’s presentation was that he didn’t just appear and start singing; instead he gave introductory remarks that painted a concise picture of each piece on the program. That helped the audience to follow the emotional arc of the songs. As Williams explained, Schwanengesang is a collection of Schubert’s lieder that were not meant to tell a story like Die schöne Müllerin or Winterreise. The songs, set to the poetry of Ludwig Rellstab, Heinrich Heine, and Johand Gabriel Seidl, seesawed back and forth between various aspects of love and loss. So, to tie them together, Williams inserted a few selections – with texts by Goethe – from Schubert’s oeuvre, and that smoothed out transitions in the program.
With his expressive voice, demeanor, and stellar diction (for those of us who speak German), Williams created one mesmerizing scene after another. In “Willkommen und abschied” (Welcome and Departure), he galloped away from the love he left behind. Then in “Liebesbotschaft” (Message of Love), he asked a fast-flowing stream to carry his ardor-laden feelings to his beloved. An ominous mood took over with “Kriegers Ahnung” (Warrior’s Foreboding), which slowed down and with thoughts of impending death.
Williams superbly conveyed the lightness of being in love during springtime – in “Ganymed” (Ganymede) and “Frühlingssehnsucht” (Longing in Springtime)–and then became more imploring with “Ständchen” (Serenade) in which the last phrase “Come, make me happy!” was an ecstatic demand the first time but reduced to a plea the second time.
Exploring the turmoil of love, Williams delved into “Rastlose Liebe” (Relentless Love) before calming down a bit with “Aufenthalt” (Resting Place) in which he finished with a painful expression as he sang “my sorrow remains forever the same.” With “In der Ferne” (In the Distance), his persona retreated somewhat with the heartbreak of rejected love, and followed it with a more uptempo “Abschied” (Farewell).
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After intermission, Williams returned with “Der Musensohn” (The Son of the Muses), which bounced along in expectation of finding a new love. The atmosphere turned stormy and defiant with “Der Atlas” (Atlas) in which the feeling of frustration was almost palpable. Then the atmosphere sank even lower with “Ihr Bild” (Her Image) as Williams beautifully howled of losing love. But in “Das Fischermädchen” (The Fisher-Maiden), he invites a girl to love him, comparing his heart to the turbulent sea.
“Auf dem See” (On the Lake), Williams sang of the love of nature, but in “Die Stadt” (The City), a veil of mist lifted to reveal the town where, alas, love was lost. Another nadir was reached with “Am Meer” (By the Sea) in which the lover was poisoned by the tears of his beloved. That was followed by “Der Doppelgänger” (The Double) where dark and slow-moving chords reinforced the anguish in Williams’ voice as a tormented lover.
“Wandrers Nachtlied” (Traveler’s Night Song) elevated the mood with a trek in the mountains, and the recital concluded with the last song that Schubert wrote, “Die Taubenpost” (The Pigeon Post), which had a lighter texture as it related how a bird – named Longing – carried messages to the beloved.
The audience responded to Williams and Huang with a clamorous ovation. They graciously gave an encore – “Loveliest of trees” from George Butterworth’s “Six Songs from a Shropshire Lad.” You can hear Williams deliver a beautiful performance of this piece with orchestra at the Proms here:
