Ah, welcome one and all to the grand spectacle of music criticism, where we have not one but two fine vocalists sharing the stage, much like a pair of very competitive chefs at a bake-off, all vying to be the crème de la crème! Let’s talk about a recent concert starring the baritone Stéphane Degout and the tenor Glen Cunningham, a meeting of the musical minds that took place at the illustrious Opéra National du Rhin in Strasbourg. Yes, the place where you can catch a delightful show while also contemplating how to get the mustard stains out of your best frock.
So, we’ve got Schumann, Debussy, and Brahms on the program — the musical equivalent of a classic three-course meal, served with a side of savoir-faire. That means before we dive into this verbal pâté, let’s raise a toast to the brave souls who sat through what can only be described as an “interesting” interpretation of the Liederkreis and various other masterpieces, featuring our fine artists alongside the impeccable pianists Alain Planès and Anna Tilbrook.
Now, let’s not mince words. There’s something quite noble about Degout, akin to a knight in shining armor but minus the whole dragon-slaying business — unless you count slaying the odd high note. He opened with Schumann’s Liederkreis, and what did we witness? A voice so dark and rich, it could be categorized as a fine espresso that wakes you right up. The man knows how to convey pain without resorting to melodrama, which, let’s face it, is exactly how I’d describe my last attempt at karaoke after three too many gin and tonics.
Forsaking any potential pathos, he led us through the Germans like a guided tour gone rogue. Then enter stage left: Glen Cunningham. Now, I won’t say he bombed, but let’s just say his German pronunciation was serviceable at best. It felt about as moving as a three-legged dog trying to chase its own tail—painful to watch, but you know you can’t look away!
But don’t get me wrong; he can carry a tune with the best of them. The problem is, each note felt a bit… monochrome. It’s a bit like choosing to wear beige when you know the rest of the party will be dazzling in electric blue. Yes, I get it, you’re trying to be low-key, but sometimes life demands a little ‘sparkle’! It was all a bit ‘there’ and not much else — an appetizer that leaves you hungry for the main course.
And then—oh, the culmination! Brahms’ “Vier Ernste Gesänge” was where it all climbed to a stunning peak — a biblical meditation more soul-stirring than your grandmother’s Sunday sermon. Here, Degout became more than just a skilled singer; he morphed into a prophet in a musical tempest, reminding us all of why we flock to these performances — the sheer weight of emotions laid bare like a bad tattoo on a Tuesday morning.
Now, on to encores! Every concertgoer loves a good encore, like a second dessert. Cunningham attempted a Scottish song, channeling his inner bagpipe, and let’s be honest, it wasn’t half bad. But the duet with Degout attempting a Fauré piece — bless them — was akin to watching two clowns trying to operate a unicycle simultaneously; ambitious, but ultimately a chaotically funny fiasco. A transposition? More like a transformation into an awkward moment bereft of grace.
The evening, however, culminated in a fabulous Fauré encore where Degout and Planès danced through the notes like they were born to do it — a beautiful and fitting end to a night that started like an awkward school dance, found its rhythm, and finally spun into a whirl of musical delight.
So, as we reflect on this concert, remember that live performances keep us guessing. One moment you’re comparing your emotions to broccoli, and the next you’re dancing a waltz in your mind, knowing music — much like fashion — is sometimes about taking bold risks, while other times, it’s about knowing when to retreat into comfort zones. Bravo to our performers! Let’s hope the next concert doesn’t feature any unfortunate tent-pitching with Fauré again. Cheers!
More details
On November 7, 2024, the Opéra National du Rhin in Strasbourg played host to a remarkable evening dedicated to vocal artistry, featuring the acclaimed baritone Stéphane Degout accompanied by pianist Alain Planès, alongside the talented tenor Glen Cunningham with pianist Anna Tilbrook. The program showcased a selection of timeless works, including Robert Schumann’s poignant *Liederkreis* op. 24 and *Myrthen*, Claude Debussy’s atmospheric *Fêtes Galantes* I & II as well as *L’Horizon Chimérique*, *Nell*, *Le secret*, *Chanson d’amour*, and *Notre amour*, culminating in Johannes Brahms’ introspective *Vier Ernste Gesänge* op. 121.
Sponsoring a young colleague by opening up part of the Liederabend program to him is a laudable intention. However, Stéphane Degout, using his celebrity to “boost” Glen Cunningham, sets a high bar.
The audience in Strasbourg is familiar with the Scottish tenor Glen Cunningham, who made notable appearances as part of the Studio Opera troupe. He delivered a memorable performance in last season’s phenomenal production of *Guercoeur* and rose to prominence by brilliantly stepping into the title role of Bernstein’s *Candide* at short notice, showcasing his versatility and skill. It was with eager anticipation that patrons welcomed his return, despite the surprise element of his participation in Degout’s recital, which featured a generous repertoire where he made a significant contribution.
Despite Cunningham’s good intentions, the lyrical offerings this evening faced challenges — as his interpretations of Schumann, Debussy, and Fauré were met with mixed reactions. His rendition of *Myrthen* op. 24, while showcasing a beautiful midrange voice, lacked sufficient complexity, resulting in a somewhat monotonous performance that left the audience yearning for depth and emotional engagement.
Degout opened the evening with a performance of Schumann’s *Liederkreis* op. 24, delivering a rich, nuanced interpretation. His voice was dark, supple, and resonant, drawing listeners into the emotional depths of the poetry with impeccable control and stunning clarity in his German diction. Degout’s interpretation of *Mountains and Castles* was particularly notable, as he and pianist Alain Planès expertly crafted an evocative soundscape that transported the audience to the haunting shores of the Rhine.
The duo’s performance of Debussy’s *Fêtes Galantes* II revealed their deep synergy, especially during the *Sentimental Conference*, where contrasts of musical colors unfolded with exquisite beauty. This mastery reached its zenith with Brahms’ *Vier Ernste Gesänge*, showcasing a poignant reflection on life and death, communicated with extraordinary depth by Degout, marking it as a defining moment in the concert.
In tradition, both singers offered encores, with Cunningham presenting a lovely Scottish song. Their duet attempt with Fauré’s *Since Down Here Every Soul* was a less successful endeavor, but it was eclipsed by Degout’s and Planès’ final offering—a stirring performance of another Fauré piece that seemed tailor-made for their artistic partnership.
Photographic credits: Stéphane Degout © Jean-Baptiste Millot; Glen Cunningham © Klara Beck
**Interview with Stéphane Degout and Glen Cunningham Post-Concert**
**Interviewer**: Welcome, Stéphane and Glen! What a remarkable evening at the Opéra National du Rhin. Let’s start with you, Stéphane. You opened the concert with Schumann’s *Liederkreis.* How did you feel while performing those deeply emotional pieces?
**Stéphane Degout**: Thank you! Performing Schumann always takes me on a journey of profound emotions. His music is poignant, and I believe it’s crucial to convey that without veering into melodrama. I aimed to strike a balance between vulnerability and strength, much like a fine espresso—rich, bold, but also comforting.
**Interviewer**: And what about you, Glen? You followed with your selection of works, but the audience had mixed reactions. Can you share your thoughts on your performance?
**Glen Cunningham**: Absolutely! I felt honored to share the stage with Stéphane and to reconnect with the audience. While I aimed to bring my interpretation to the pieces, I understand that not every performance resonates with everyone. It’s a learning experience, and I’m grateful for the support.
**Interviewer**: There’s always an element of surprise in live performances. Stéphane, as someone who has been a veteran in this world, what do you think when you see a talented young artist like Glen stepping in?
**Stéphane Degout**: It’s essential to nurture and support younger talents. Glen has tremendous potential, and I believe in giving opportunities to those who may not always get the spotlight. we’re all about sharing the love of music.
**Interviewer**: Glen, how did you feel when you joined Stéphane in the encore—attempting that duet of Fauré?
**Glen Cunningham**: (laughs) That was quite the adventure! Ambitious, perhaps a bit chaotic, but I think that’s the beauty of live performance. It allows us to take risks and have fun, even if the result is a little… quirky!
**Interviewer**: Stéphane, you mentioned in your performance of Brahms, you felt like a ‘prophet in a musical tempest.’ Can you elaborate on that?
**Stéphane Degout**: Ah, Brahms! It’s an emotional hammer. The *Vier Ernste Gesänge* often feels like a journey through the soul. Performing it, I felt a weight of responsibility to convey those powerful messages, reminding the audience of the deeper connections we all share.
**Interviewer**: Lastly, what can we expect from the two of you in the future? Any upcoming projects that excite you?
**Glen Cunningham**: We both have a busy season ahead, with various projects lined up. I’m particularly looking forward to working on new and challenging repertoire.
**Stéphane Degout**: Indeed. The world of classical music is ever-evolving, and we’re excited to explore what’s next. Perhaps even more duets in the future — provided we can master the unicycle first!
**Interviewer**: (laughs) Thank you both for sharing your insights! Here’s to many more performances filled with passion and growth. Cheers!
