Stuart Skelton: Shining Knight
View record and artist detailsRecord and Artist Details
Composer or Director: Richard Wagner, Samuel Barber, Charles T(omlinson) Griffes
Genre:
Vocal
Label: ABC Classics
Magazine Review Date: 10/2018
Media Format: CD or Download
Media Runtime: 65
Mastering:
DDD
Catalogue Number: ABC4817219

Tracks:
Composition | Artist Credit |
---|---|
Rienzi, Movement: Allmächt'ger Vater (Rienzi's prayer). |
Richard Wagner, Composer
Asher Fisch, Conductor Richard Wagner, Composer Stuart Skelton, Tenor West Australian Symphony Orchestra |
Lohengrin, Movement: In fernem Land |
Richard Wagner, Composer
Asher Fisch, Conductor Richard Wagner, Composer Stuart Skelton, Tenor West Australian Symphony Orchestra |
(Der) Ring des Nibelungen: Part 2, '(Die) Walküre', Movement: Winterstürme wichen dem Wonnemond |
Richard Wagner, Composer
Asher Fisch, Conductor Richard Wagner, Composer Stuart Skelton, Tenor West Australian Symphony Orchestra |
Parsifal, Movement: Amfortas! Die wunde! |
Richard Wagner, Composer
Asher Fisch, Conductor Richard Wagner, Composer Stuart Skelton, Tenor West Australian Symphony Orchestra |
Parsifal, Movement: Nur eine Waffe taugt |
Richard Wagner, Composer
Asher Fisch, Conductor Richard Wagner, Composer Stuart Skelton, Tenor West Australian Symphony Orchestra |
Wesendonck Lieder |
Richard Wagner, Composer
Asher Fisch, Conductor Richard Wagner, Composer Stuart Skelton, Tenor West Australian Symphony Orchestra |
(3) Fiona Macleod Poems |
Charles T(omlinson) Griffes, Composer
Asher Fisch, Conductor Charles T(omlinson) Griffes, Composer Stuart Skelton, Tenor West Australian Symphony Orchestra |
Sure on this shining night |
Samuel Barber, Composer
Asher Fisch, Conductor Samuel Barber, Composer Stuart Skelton, Tenor West Australian Symphony Orchestra |
Author: Tim Ashley
He’s in fine voice throughout, his tone shining and bronzed, his dynamic control often immaculate. Rienzi’s prayer is gloriously bel canto, as it should be. In the Lohengrin and Parsifal extracts, we’re aware of the wider contexts of narrative and character, so a sudden shaft of regret at imminent parting intrudes on the mystic introversion of ‘In fernem Land’, and the juxtaposition of his anguished ‘Amfortas! Die Wunde!’ with the spiritual certainty of ‘Nur eine Waffe taugt’ reminds us of the immense psychological distance that Parsifal travels during the course of the work. Asher Fisch and his West Australian Symphony Orchestra are finely alert throughout to the ebb and flow of Wagner’s music, so the concert endings feel unusually brutal, in Parsifal above all.
The Wesendonck Lieder in Mottl’s orchestration, meanwhile, have always been a difficult prospect for tenors. They lie comparatively low, sometimes taking Skelton into territory where the sheen drains from his tone, though there are compensatory insights: fastidious attention to the gloomy mood of the text; his use of a creepy mezza voce in ‘Im Treibaus’; and an almost shocking surge of passion at ‘Glorie der ganzen Welt’ in ‘Schmerzen’, which colours the rest of the cycle even as its beauty ebbs away.
The songs by Griffes and Barber are tremendous. Skelton clearly loves this music, and his voice blazes with conviction in Three Poems of Fiona MacLeod, where the emotions are intense and confrontative: Fisch does wonders with Griffes’s darkly sensual textures, too. Barber’s ‘Sure on this shining night’, relaxing the tension into wonder at the beauty of the universe, forms a perfect envoi. It’s a fine recital that leaves you wanting more – of Skelton singing Griffes, perhaps, above all.
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