A masterclass in recital presentation, this fascinating concert by Siobhan Stagg and Nico de Villiers at the beginning of their National tour offered not only an evening of ravishing singing from Australian soprano, Siobhan Stagg, but also for many, an absorbing introduction to the music of little-known composer, Richard Hageman.
Hageman was a Dutch-American conductor and Oscar-winning composer who commenced his career as a conductor of the Netherlands Opera before moving to Paris to work in the studio of renowned mezzo-soprano, Mathilde Marchesi, the teacher of many famous singers including Nellie Melba.
Eventually moving to New York to commence a 13-year engagement as conductor and coach at the Metropolitan Opera, before moving to Hollywood where he quickly established himself as an A-List composer, scoring films for directors of the ilk of John Ford and Frank Lloyd.
Of the six of his film scores nominated for Academy Awards, his score for the John Ford western Stagecoach in 1939 won him the Oscar. He actually appeared in several films, among them The Great Caruso with Mario Lanza (1951), New Orleans with Billie Holliday (1947) and Rhapsody with Elizabeth Taylor (1954).
These days his music is largely forgotten. A situation Stagg and de Villiers are intending to rectify with this tour.
After carving out an enviable International reputation for her vivacious performances in leading roles including Pamina in Die Zauberflote, Sophie in Der Rosenkavalier, Tytania in A Midsummer Night’s Dream, Gilda in Rigoletto, Musetta in La Boheme and Adele in Die Fledermaus for Deutsche Oper Berlin, Siobhan Stagg has gone on to appear in prestigious concert halls and opera houses around the world.
Among her many accolades is a Green Room Award for Best Female lead in an Opera for her performance as Melisande in Victorian Opera’s production of Pelleas et Melisand, and her break-out success originating the role of Cinderella in a lavish production of Cendrillon for the Lyric Opera of Chicago. Interestingly this very production of Cendrillon has just been announced by Opera Australia as it first production for its 2025, but with Emily Edwards playing the title role originated by Stagg.
All of this experience was evident in Stagg’s luminous performance in this recital entitled Echoed Voices, dedicated to the music of Richard Hageman, for which she was accompanied by Nico de Villiers, an accomplished South African pianist, coach and author, whose also one of the world’s foremost authorities on Hageman’s music.
Cleverly curated by Stagg and de Villiers, and narrated mainly by de Villiers, the program traced Hageman’s career through his songs. Throughout the performance de Villiers would display his considerable gifts as a charming raconteur and teacher, by comparing Hageman’s compositions with composers Hageman admired, demonstrating with extracts from compositions to illustrate his point.
The program was presented in six sections, some devoted entirely to the songs of Hageman and others including songs by Richard Strauss and Henri Duparc, two of the composers who had influenced Hageman. It proved a fascinating and rewarding concept adding significantly to the enjoyment and understanding of the work of all three composers.
Stagg proved as fascinating and accomplished as her publicity had promised. Gifted with the ability to lose herself completely in the mood of each song, she would also maintain the moment long after the song had ended.
Following the enthusiastic applause which rewarded her vivacious rendition of Hageman’s Miranda and then the pensive Die Stadt, Stagg requested that the audience hold its applause until the end of each the section.
While this proved a little difficult for those aching to express their appreciation at the end of each exquisite rendition, the wisdom of her request was borne out with the realisation that, far from being an affectation, how this restraint contributed to the appreciation of relationship between each carefully chosen selection of songs.
The wide ranging repertoire allowed Stagg to demonstrate her flawless vocal range and technique, ranging effortlessly through limpid coloratura to warm lower register. It also showcased her charming stage presence and impressive acting ability, equally at home being the dazzling soubrette, the serene and pensive lover, or just plain silly as demonstrated in her delightful encore rendition of Hageman’s playful Owl and the Pussycat.
And of course it almost goes without saying that throughout all the above pleasures were provided with attentive, virtuoso accompaniment by her associate artist, Nico de Villiers.
Echoed Voices
Albert Hall, 100 Commonwealth Avenue, Canberra
Performance: Friday 19 July 2024
Information: www.nationalopera.org.au
Echoed Voices will also be presented in Sydney (26 July), Mildura (28 July) and Brisbane (7 August).
Image: Nico de Villiers and Siobhan Stagg – photo by Peter Hislop
Review: Bill Stephens OAM