I am still buzzing. I have just returned from Poland, having been invited to adjudicate at the first International Early Music Vocal Competition in Poznań titled Canticum Gaudium. The competition was created under the auspices of one of the most famous and renowned European choirs, the Poznań Boys’ Choir, directed by composer/conductor Jacek Sykulski.
Poznań is a beautiful city, particularly when bathed in the warm, autumnal glow of early November. I visited the city in 2000 with Anúna, and it has changed considerably since then. The central part is dotted with fashionable restaurants and beautiful ornate churches. I particularly love the atmospheric coffee shops where the day can slip away so easily. Coffee always seems to taste better on mainland Europe than it does at home for some mysterious reason. These peaceful places are almost empty in the daytime, and for me were an oasis to renew my love for Poland. The city itself has a well-maintained and attractive central square that is full of life in the evening. Everywhere is walkable and people are polite and good-natured. Considering that there is a direct flight to Poznan from Dublin, I can’t understand why I have never met another Irish person who has been there.
Pictures Michael McGlynn
I hear some of you ask – what is Early Music? Well, in a nutshell, it is a musical land where few singers and teachers tread comfortably. Singers must have formidable technique but also a genuine love of this special music. It involves the use of improvisation and ornamentation and requires a strong and supple vocal technique. In the early 1980s the pure sound of enthusiastic and almost vibrato-less English voices brought this forgotten era back into the public eye. Since then much has changed in the way this music is interpreted, which has led to a renewed appreciation for the genre and a widening interest in it among the musical fraternity. I was delighted that so many young singers had chosen to enter this competition, and more importantly, how many of them dealt so competently with the specific demands required by the repertoire.
Adjudication is a particular skill. Some adjudicators love emotional performance, some prefer accuracy and technique and some want raw talent recognised. I know that it is an important means for the transmission of my experiences and knowledge as a performer to the next generation. The organisers chose a very interesting line-up of adjudicators : Eric Desnoues (France), soprano Olga Pasiecznik (Poland/Ukraine), bass-baritone Stephan MacLeod (Switzerland) and countertenor Roberto Balconi (Italy). There was some amusement among them when we met initially that my biography in the programme included mention of my involvement as a specialist adjudicator in the Finnish version of X Factor. Well, adjudication is adjudication, and seeing as the main aim of all singing competitions is appropriate transmission of information – about the song, about the text, about the composer and crucially, about the singer – I would say, hastily, that there isn’t that much difference between genres of music in the end when you are looking for that special element in a performer…the “x factor”…
I must state first of all that any opinions I give in this article are my own, based on my twenty five years in the music industry, and may not always reflect the views of my colleagues. Our deliberations were passionate: all of us have very strong ideas and opinions about this music that we love. We debated each singer at length in French and English. I was writing my notes in Irish, which got harder and harder for me as the week progressed, as I can’t seem to retain coherency in French and Irish simultaneously for no good reason. We may not have been unanimous in everything, but there was always a consistent thread running through our judgements which went beyond personal taste. My colleagues made the difficult experience of adjudication something which was full of stimulating debate, good-humour and passion.
Eric, Stephan, Roberto and Olga
While I have worked as an adjudicator before, this experience was unique in one particular way: we interacted with the singers directly, discussing their performances with them individually and in small groups. I believe that being open and honest with young singers is hugely valuable to both yourself and the performer. You have to make your comments clearly, answering direct questions with direct answers. You also have to justify why you feel a certain way about something, and that can be a challenge. Through these interactions we learned much from the singers about their lives and their ambitions for the future. I wish I had had access to something like this when I was starting, rather than cold written statements, if any were given at all, that could easily be misunderstood.
What were we looking for? Was it simply the voice combined with passion, communication and intellect? Many of these singers had all of these traits. However, lurking beneath all these things lies the need for a strong bedrock of vocal technique. Text must also be very clear, and the meaning of the words transmitted. But the thing that I was looking for most of all was that the singer must attempt to bring this music to life in today’s world, which is so alien to the one in which the words and music were originally conceived.
Hanna Rozankiewicz sings “Come again, sweet love”, picture by Tomasz Semmler
Most of the performers sang Lute Song from England, particularly the works of the great John Dowland. These are deceptive songs, superficially easy to sing but difficult to perform with conviction. I was the only native English speaker on the panel. I don’t have problems with people singing in accented English. If you are Polish or French then it is pretty likely that you will sing with a Polish or French accent, but the accent should never obscure the meaning of the words. All I want, and I am sure the same applies to all languages, is that the words are coherent and it is obvious to the listener that the singer understands them. I have serious problems with affected English pronunciation. By this I mean English being distorted for obscure and often ridiculous reasons. I must state here that many of the worst offenders in this area are native English speakers. No, I don’t agree that “r” should be rolled, but tolerate it because most singers do it. It is infinitely harder to not roll the “r”… No, the word “Spring” is not pronounced “Sprrrreeeeng”. Distortion is distortion, no matter how accepted such odd practices have become.
There were some good performances given by the singers in the lute song genre, particularly by the baritone Romain Bockler from France, who eventually came fifth in the competition. He gave a delicate reading of Trombocino’s “O mia cieca e dua sorte” in the semi-final. This was matched by the young Polish singers Maria Rozynek and Bartosz Rajpold who both sang moving renditions of Dowland’s “Flow my teares”. Hanna Różankiewicz, the youngest performer in the competition, performed one of the best-known Dowland songs “Come again, sweet love” with a moving sensitivity. Samitra Suwannarit-Grabowska from Thailand sang a heart-stopping rendition of Dowland’s “Sorrow, Stay”. I don’t believe that Samitra performed as well as she could have in this competition. She is a fine artist and her performance particularly touched me.
There were three very good Polish countertenors in the competition. Roberto’s opinions and knowledge were particularly helpful to me, as he is a countertenor, and he explained the different features of this unusual and increasingly popular singing voice for men. All three singers were young. Marcin Liweń has a powerful voice and fine musicality and shows great promise for the future, while Bartosz Rajpold sang with intensity and passion, even at this early stage of his career. He was particularly good in his performance of Handel’s “Su, Magera”.
Bartosz Rajpold , picture by Tomasz Semmler
The youngest of them was Jakub Orlińsk, also Polish. We recognised his performances with a special award of Merit. When I spoke to Jakub about his relationship to early music and his particular choice of this unusual voice type, he told me in no uncertain terms that this was what wanted to do for his life. Well, this and break-dancing…
Jakub Orlińsk, picture by Tomasz Semmler
I should point out how well the singers got on together. When we met them face-to-face it was disarming to see how young they all were, despite the intensity of some of their performances. I was very taken with the Polish soprano Natalia Kawałek, whose passion and virtuosity were combined with an excellent vocal instrument. I found her performance arresting, and I will follow her career with interest. Aleksandra Lewandowska, also Polish, is a vocal stylist and specialist in early repertoire. She was always a consummate artist in the competition, giving some of the most challenging performances of interesting repertoire. I don’t think we heard her at her best, but she still managed a fourth placing in the final stage. Other fine performances were given by the dark-voiced mezzo-soprano Joanna Krasuska-Motulewicz, who gave some very dramatic readings of Handel and Bach, and the young sweet-voiced soprano Magdalena Urbanowicz who had an engaging presence on stage.
Natalia Kawalek & Aleksandra Lewandowska picture by Tomasz Semmler
The attendance of so many international singers was vital to the competition. Hungary’s Judit Zsovar and Iria Perestrelo of Portugal brought their own individual styles and passion to us with flair and considerable charm. One of the most dramatic performance pieces, which we heard not once, but twice in the finals, was Handel’s virtuosic “Lucrezia”. It was sung by Germany’s Julia Kirchner. Her presence and interpretation were statuesque, and Olga very generously offered her a special performance as a personal prize. Julia was the eventual winner of the third place prize. The second place was awarded to Poznan’s own Maria Rozynek, who impressed us with the passion of her performances, and was one of the youngest entrants at the age of twenty-two.
Julia Kirchner sings “Lucrezia”, picture by Tomasz Semmler
We were delighted to award the first prize of five thousand euro to the American soprano Estelí Gomez. She gave a number of immaculate performances. Purcell’s “O lead me to some peaceful gloom” was like a crystal stream of sound, while Rameau’s “Du pouvoir de l’Amour / Jeux et ris qui suivez mes traces” was simply, and I hesitate to use the description because it has become almost a cliché, ravishingly beautiful. In this recit/aria she used Baroque gesture [try here for further info], a form of hand movement that historically would have been used in contemporary perfromance of this time, in such a natural way that it just looked right. Personally, I was hugely impressed by her technique, particularly her support which was almost invisible to my eye. I was delighted that she participated in my choral workshops the next day, but more of that in a later article.
Estelí Gomez, picture by Tomasz Semmler
She has a very engaging and bright personality and I spoke to Esteli about what winning this competition meant to her :
How are you feeling now after your victory? What do you think winning this competition will mean for you in the short term?
“The two strong feelings that come to mind are appreciative, and inspired. This was my first vocal competition and first time singing solo in Europe, as it were, and I was delighted at the high caliber of musicality of the contestants and judges, as well as the attentive organizational efforts that held the festival together so well; also, the kindness that the hosts and judges showed us, and that the contestants showed one another, was an amazing blessing and inspiration throughout and in retrospect.
That being said, I think a common misconception, when a singer wins a competition (or important role or gig), is that he or she has achieved some sort of untouchable state of arrival. While I can absolutely describe the Poznań competition experience and environment as one which, for me, really encouraged and celebrated that which I have been striving towards in my music-making, I do recognize that a competition win does not a “finished” singer make. I am hopeful that such a win will provide me with musical exposure in Europe, yet in a sense I have already gained a great measure as such, having been myself exposed to competitors’ varied styles and judges’ diverse tastes during the competition week itself. Ideally, I intend to continue exploring these performance practices and preferences on both sides of the pond, and I am very glad and grateful that my first efforts to do so were encouraged”
Why do you like singing this unusual repertoire particularly considering your own musical background?
“I grew up in a family that strongly values music – my parents met in a folk/bluegrass group, and all our extended family holidays involved singing, instruments, harmonizing. But, even more strongly, they emphasized the joy of personal expression within art (visual art too…my brother is an animator!), and that’s what drew me first to jazz, then early music. I loved singing solo and small ensemble jazz repertoire in high school, before I’d begun to dabble in solo classical singing, because it involved not just freedom of expression, but requirement of expression – the idea that on a basic level one must constantly engage in a composition and make personal, committed decisions, connecting to text and phrase structure with enough conviction and confidence to be able to improvise…! All exciting elements that jazz and early music performance share. The performance of early music requires a special and wonderful balance of academic/historical context, or engaging one’s brain, and then this intensely courageous improvisatory/creative element, or engaging one’s soul. For me, this is an incredibly satisfying combination!”
What are your memories of Canticum Gaudium and Poznań that you think will stay with you?
“I would say that the amazing friendliness of our Polish hosts – those affiliated with the competition, as well as perfect strangers – was particularly special and memorable. Before and after the competition I travelled to a few other cities in Europe for more concert performances, but no public was friendlier or more generous than that which I found in Poland. Otherwise, I would say that the experience of traveling so far and investing so much time, effort, and money to sing just thirty minutes of music in the semi-final round… that was definitely an experience and level of investment I won’t forget any time soon!”
What do you think that this competition has to offer young singers who might be interested in attending in 2013?
“The spirit of this competition was so rich with positive, healthy energy, that I came away with not just a better idea of how Renaissance and Baroque music is sung in different circles today, but feeling truly inspired by the approaches of the performers and honest, helpful commentary of our judges. I would highly recommend the experience as a whole to any dedicated early music singer, looking not just to show off or win prizes, but to invigorate his or her musical agenda and encourage fluency in different repertoires, presented to a unique and appreciative audience.”
I want to wish Estelí and all the competitors well-deserved success for the future. I know I will be returning to Poznań, and I won’t wait eleven years next time. Finally I want to extend my personal thanks to all those who gave their time and energy to the organisation of this competition. There wasn’t a single glitch, just goodwill and positivity. I particular want to thank Joanna Theuss and Jacek for making the entire experience one I will always remember and treasure.
The winners: Romain, Estelí, Maria, Aleksandra and Julia