BARCELONA / And with Montsalvatge came the best
Barcelona. Palace of Music. 1-VI-2022. Marta Mathéu, soprano. Francisco Poyato, piano. Works by Schumann, Toldrà and Montsalvatge.
Within the many particularities of the soprano Marta Mathéu’s singing, we must highlight her versatility to adapt to a diversity of styles with an undeniable interpretive personality that has brought her countless successes in her career. Following a firm step, he has never closed any door to genres such as opera, leadership or oratorio, setting himself challenges as demanding as the one he will have to face next July at the Liceu —a theater in which he made his debut a short time ago with Berta del Barbiere— singing the role of Rule.
Now, in the Petit Palau, the Catalan soprano presented, accompanied on the piano by an excellent Francisco Poyato, a selection of lieder from Myrten by Schumann, together with songs by Toldrà and the always exceptional five black songs by Montsalvatge, of which so many indelible memories were left by the interpretations of Caballé, Victoria de los Ángeles or, of course, the suggestive version in the voice of Teresa Berganza. And on Wednesday night she stood out above all else in her version of this Montsalvatge cycle. Mathéu’s voice was submerged in ‘antillism’, in the scathing, in the underlying sorrow after the loss —in Alberti’s words— of The Blue Pearl of the Antilles Seain the plasticity and delicacy, in the lively rhythm of black singing or in the placidity of habanera point on the poem by Nestor Luján. She was a Mathéu who had delved into the feeling of each verse, who molded her voice with suggestion, with charm, to leave us a version with many carats with a color very similar to that of María Bayo’s version.
This interpretation emerged after a version of a selection of the delicious Myrthen of Schumann that emphasized its most introspective aspects. The soprano’s voice did not flow naturally throughout the tessitura —especially in the lower register— with an excessively pale projection through which relevant nuances were dissipated to delve into the fullness of the music of this cycle. Beautiful moments surfaced like the always sensational Widmung or Die Lotosblume in which the words of Rückert and Heine respectively and the music of Schumann emerged under a musicality in the song of many carats.
He faced the Catalan lied of Toldrà with the naturalness that should prevail in the melancholy May and knew how to accommodate the plasticity of her voice in the love song fairy walks. The popular roots, the ‘noucentista’ sense, the refinement of some beautiful melodies such as April —which lacked greater clarity of diction— or party They sealed a good performance by Mathéu with an impeccable Francisco Poyato throughout the entire recital. Music of Toldrà and the repetition of black singing put an end to this concert with a Mathéu who has her sights directed at a tour de force how will the Rule scheduled for the month of July at the Liceu.