Songs by Some: Enchanting Interpretation by the Richard Rodgers Ensemble

Composer: Some
Works: “On a Clear Day You Can See Forever,” “There But For You Go I,” “How To Handle A Woman,” “If Ever I Would Leave You,” “Little Prince,” “Get Me to the Church On Time,” “On the Street Where You Live,” “I Was Born Under a Wand’ring Star,” “They Call the Wind Maria,” “A Fellow Needs a Girl,” “If I Loved You,” “You’ll Never Walk Alone,” “I Have Dreamed,” “Something Wonderful,” “Oh, What a Beautiful Morning,” “Edelweiss,” “Some Enchanted Evening,” “There is Nothing Like a Dame,” “Younger Than Springtime,” “Here I’ll Stay,” “White Christmas”
Performers: Bryn Terfel (Baritone), Chorus of Opera North, English Northern Philharmonia / Paul Daniel
Recording: Deutsche Grammophon 471 425-2 [76:52]

A survey of Broadway and West End musical treasures, Bryn Terfel’s “Some Enchanted Evening” showcases a selection of songs that have become staples in the canon of musical theatre. The album presents a varied landscape of mid-20th century musical styles, from the lush lyrical lines of Rodgers and Hammerstein to the poignant melodies of Lerner and Loewe. Terfel, who has made a name for himself in both opera and song, is well-positioned to tackle this repertoire, yet the results yield mixed impressions, raising questions about the interpretative choices and the overall engagement of the performance.

Terfel’s voice remains a formidable instrument, rich and dark with a timbre that is inherently appealing. However, the interpretation often feels detached, lacking the emotional immediacy that many of these pieces demand. For instance, in “If I Loved You” from “Carousel,” while his phrasing is technically solid, the performance is devoid of the tension and yearning that characterize the piece. The subtle rhythmic inflections, which can enliven the text and impart a sense of longing, are notably absent. This skimming over the surface of the material detracts from the emotional weight that is so crucial in the best interpretations of musical theatre.

The engineering and sound quality of this recording are commendable, with a clarity that allows for the nuances of Terfel’s voice to be heard. However, the overall effect is one of restraint, where moments that could burst forth with exuberance instead remain muted. The chorus of Opera North and the English Northern Philharmonia under Paul Daniel provide a solid backdrop, but their contributions often feel like they are working in service of a more dynamically engaging performance than what Terfel delivers. The lush orchestration of “Some Enchanted Evening” should serve as a vehicle for soaring expression, yet it is often left feeling underwhelmed by Terfel’s interpretation.

Comparisons with previous recordings illuminate some of the shortcomings in this release. Mandy Patinkin’s rendition of similar repertoire, for instance, is infused with a heartfelt sincerity that can resonate deeply with listeners. Terfel’s approach, in contrast, often verges on the perfunctory. Even José Carreras, whose vocal prowess may not rival Terfel’s, imbues his performances with an infectious energy that captivates the listener. Such interpretations remind us that the art of musical theatre lies not merely in vocal technique but in the ability to convey the story and emotional journey of each song.

The album does offer moments of beauty, such as his rendition of “Edelweiss,” where the soft nuances and tender delivery momentarily connect on a deeper level. Yet, these instances are sporadic and fail to coalesce into a cohesive experience that resonates as a whole. The tendency towards “microphone singing” can be effective in small doses, but when overused, it detracts from the natural lyricism that should permeate these selections.

Bryn Terfel’s “Some Enchanted Evening” presents a fascinating case of a singer of extraordinary talent grappling with a genre that thrives on emotional connection and narrative engagement. While the album showcases a wonderful voice, it ultimately falls short of capturing the magic that defines the best performances of Broadway and West End classics. For listeners seeking a rich, immersive experience, the search may need to continue elsewhere.

Tom Fasano has been writing reviews of classical music recordings for the past quarter century. He's finally making them public on this blog.