The Tenor

There are days when central London is inexplicably quiet. I mean 'quiet' relatively and in the sense of 'less bodies pushing along the pavements'. (Unfortunately, the wail of sirens and roar of traffic continues unabated com rain, shine or bank holiday.) Today is one such day and as a result, the atmosphere in the lunchtime concert is one of peaceful intimacy./ There is much to be said for a Full House (see Friday’s blog: http://eartotheflagstones.blogspot.com/2010/09/full-house.html ) but if I am honest, today’s is far preferable. The 150 people in the audience have come specially and why wouldn’t they? Whether they’re here for the lustre of Nick Pritchard’s tenor voice, or lust for Nick Pritchard himself, there is any number of incentives to be here.

Early in the proceedings, I wonder whether I ought to offer a drink of water to a lady in the side-aisle seats who, eyes closed, looks ready to swoon – I then realise she is not ill exactl so much as quite carried away by “Dies Bildris ist bezaubernd schon” from Mozart’s ‘Die Zauberflote’. Presumably, she knows more about singing than I do. Yes, I have a confession to make and there is no time like the present, I am not a singer, nor have I ever aspired to be one. My Christmas carol renditions are ‘throaty’ at best and not in a husky, sexy, Dusty Springfield sort of way. Thank goodness then, that Ear to the Flagstones is not a review of these concerts as much as a commentary. With all technical respect to Nick, I’ve no idea whether he is ‘just’ good or actually very good (thought by the end of the first item on the programme, I’m beginning to suspect the latter). I will therefore, apply the same measure of standard which I use with wine – who cares whether it is regarded a ‘good’ or ‘bad’ bottle with a ‘good’ or ‘bad’ nose and from a ‘good’ or ‘bad’ vintage? Does it taste any good?! I’m not sure how Mr Pritchard tastes, but he sounds rather lovely and is sensitively accompanied by Andrew Saunders at the piano contributing to a gentle and enjoyable programme.

Pleased with my assessment, as the pair embark upon the final song in Finzi’s “Oh Fair to See”, I read the biographies in the printed programme and am pleased to note that, contrary to popular belief, I must in fact be something of an unsung genius when it come to the recognition of vocal talent. It turns out that both Nick and Andrew come highly recommended, thank goodness, this could have been most embarrassing!

As “Since we loved” draws to a gentle close, the last consonant is rendered inaudible by enthusiastic applause and the interpretation of Finzi’s conclusion is left to the imagination of the audience.

“My love, my quee …..”

Nick Pritchard will appear in the role of Count Almaviva in rossini’s “The Barber of Seville” at Oxford’s Sheldonian Theatre in February 2011.