Everything about Dame Felicity Lott delineated her star status at this Wigmore Hall recital, from the nobility of her bearing to the finesse of her technical preparation, her easy platform manner and her spectacular gowns.
And whilst she has more claim than most to be referred to as a diva, only the positive connotations of that word apply to Dame Felicity, who performed with generosity, virtuosity, and a warm, intelligent musicianship.
It was staggering to hear her voice in the knowledge that she celebrated the 30th anniversary of her Wigmore Hall debut in 2005, for she betrays very few signs of having aged at all, still producing her characteristic fresh, lustrous timbre throughout the majority of her range with, if anything, more flexibility than she used to have. If time has slightly weakened her lowest register, she has gained a new facility in pianissimo top notes that more than compensates for such minor shortcomings.
Truthfully however, questions of vocal technique pale into insignificance alongside Dame Felicity's use of language, phrasing and gesture while she is performing.
She opened her all French programme with Ravel's 'Manteau de fleurs' and it was immediately apparent that not only is her diction clear, but her pronunciation and inflexion is so good that those who understand French scarcely need refer to the printed texts at all to understand the poetry. This meant that the artless simplicity with which she delivered lines such as 'Il engraisse comme une oie' at the end of Ravel's 'Le cygne' allowed the words to have their full effect.
Dame Felicity's natural, unfussy interpretation of the four Ravel songs on the programme was entirely appropriate to pieces which were set very directly by the composer, calling for little in terms of vocal display. Simplicity is not a feature of their piano accompaniments however, and her pianist, Malcolm Martineau, created some excellent textures and colours, appearing more refined, at ease and natural than in his playing for Simon Keenlyside a few weeks previously at the Wigmore Hall.
Martineau also excelled in Roussel's 'Le jardin mouillé', depicting the falling rain in the piano with amazing poetic vividness, and functioning as a beautiful backdrop for Dame Felicity's articulation of the thoughts in Régnier's atmospheric poem. She highlighted some beautiful onomatopoeic verbs, such as 'crépite' and 'chuchote' without disturbing the line or making too much of them. Such details permeated everything she did.
Two further Roussel songs were despatched with similarly perceptive panache, followed by two Saint-Saëns songs, the first of which, 'Si vous n'avez rien à me dire' featured some breath taking diminuendi from Dame Felicity. But it was the group of three songs by Erik Satie at the end of the first half that were the most memorable performances of the evening. 'Le chapelier' came across brilliantly and was packed with personality in spite of its brevity. Although Dame Felicity adopted a character voice for 'Daphénéo', it was done with such dramatic conviction and skill that it succeeded completely. And 'Je te veux', perhaps Satie's most well known song, received a near ideal performance which communicated all the self-assurance and ardent surrendering in the text. Dame Felicity was unable to stop herself from waltzing along to the music, and she developed through the five verses from an attitude of conquering victor to one of subtle seductress, the final 'J'ai compris ta détresse, Cher amoureux' being delivered in a mesmerising pianissimo.
Dame Felicity strode out for the all Poulenc second half of the concert to tumultuous applause which appeared to be as much for the dress as anything else, the singer having eschewed her former purple and turquoise velvet for a stunning ruched gold creation. It was clear she was there to entertain, and she and Martineau launched without ceremony into Poulenc's 'Le présent'. 'Chanson' was just as extrovert which made the contrast of the sudden composure and poise adopted for 'Hier' even more effective. The intense mélancolie in the performance of this song was quite heart breaking.
After these three settings of Louise Lalanne, Martineau and Dame Felicity gave us two Poulenc cycles, 'Tel jour, telle nuit' and 'La courte paille'. There were many magical moments from both artists, but the daring pianissimo in the repetition of the first lines of 'Une herbe pauvre', and the breadth of the line at the end of 'Nous avons fait la nuit' were especially arresting. 'Lune d'Avril' was a very fine close to a programme characterised by variety but unified by rare distinction.
Of the three Poulenc encores we were given, 'Les chemins d'amour' was quite amazing. Dame Felicity's languorous, wistful but erotically charged take on it was irresistible, and given the number of people I heard humming it to themselves on the way out of the hall, I don't think I will be alone in thinking it an unforgettable gem from a beautiful evening.
By John Woods
Read recent concert reviews, including Kate Royal, Thomas Hampson and Simon Keenlyside's recitals at the Wigmore Hall, here.