The International Music & Arts Society presented a recital by baritone Rahul Bharadwaj. The full hall contradicted the assumption that western vocal classical appeals only to a niche audience.
The programme was first performed in Pune, well-known for its uncompromising western music criteria, but therefore not as readily appreciated in Bangalore, where standards are not as exacting.
The preponderance of Brahms Songs gave the evening a rather lugubrious, tone so extending the range of the esoteric programme would have done even more to win friends and converts.
Italian vocal music was sadly noticeable by its absence. Given that in so many operas eponymous characters are baritone roles – Rigoletto, Barber of Seville, Macbeth, Don Giovanni, Marriage of Figaro – one or two operatic arias would have been most welcome.
Rahul defended his categorical choice: “I want to take the audience out of its comfort zone, introduce them to new repertoire rather than give them popular arias they know. I also excluded Italian arias because they really need orchestral accompaniment and do not give a pianist enough to do by way of adding to the musical texture.
And you have to be able to put the aria in the context of the opera, tell the story, background etc., which means more programme notes. In any case, Italian music doesn't link up with Brahms’ place in music history. I felt the English songs wouldn't be at odds with the Brahms as much as Italian opera.”
Rahul’s confident casual stage presence negated the gravitas of his repertoire. A bass baritone, his reaches into the lower registers were powerful and controlled, while his pleasing timbre brought out the beauty of Brahms’ deeply felt romanticism. It was a delight to hear the voice without any amplification and his technique ensured he was heard by all in the highly suitable NGMA auditorium.
The Songs were moving and affecting – rendered with great feeling via Rahul’s dramatic abilities – but the melancholia and slow tempi were a trifle unvarying. Not surprisingly, the Lullaby , a Brahms piece very well-known to pianists, was the most pleasing.
Apart from Brahms, the programme comprised of English songs; again, a choice that did little to present the range of music available to a baritone. The marked differences between German and English styles proved interesting, and the humour and lighter vein of Sweet Polly Oliver was much appreciated.
Nadine Crasto’s accompaniment was delicately supportive and sensitive. Without being overpowering, the piano added forte dramatic tension where necessary in the Brahms Songs , such as in Betrayal.
Undoubtedly it is difficult for performers to balance a programme between what they feel is important - no matter how demanding and unfamiliar - and what is known to an audience. However, without dumbing down or diluting the repertoire, it is possible to make one or two concessions to “popular appeal”, after gauging an audience’s level of knowledge and appreciation. And the encore usually makes that allowance. But Rahul’s encore, an aria from Douglas Stuart Moore’s modern American opera, only reinforced the evening’s sombre note.
