An Impressive Start
Last Monday, August 26, Beth Taylor took to the stage of the Canonica de Santa Maria, where she was waiting for the magic of the first notes of the pianist Hamish Brown. The young artist opened her performance with a performance that made us remember Lise Davidsen’s memorable presentation in the same place, four years ago now. With talent already evident, Taylor has captured the public’s attention as a bright promise on the music scene.
A Singular Voice
Beth Taylor presents herself as a mezzo-soprano, but her contralto tessitura sets her apart in an operatic world where this register is uncommon. Born in Glasgow in 1993, her voice evokes the great figures of the past such as Kathleen Ferrier and Janet Baker, although these two were English. The British vocal legacy seems to be in perfect tune with her style, and we can include names like Clara Butt or Helen Watts in her inspiration.
A Musical Journey
The concert began with ‘My Lagan Love’, an Irish folk piece harmonized by Hamilton Harty. The power of Taylor’s voice was evident from the start, with a range that spanned from deep lows to delicate highs. This work gave way to Debussy’s ‘Trois mélodies de Verlaine’, where his voice and Brown’s piano merged in perfect harmony.
Exploring Maritime Themes
The repertoire continued with three Lieder by Schubert, among which stood out ‘Gruppe aus dem Tartarus D. 583’, a powerful description of hell. Taylor’s performance was so deep that her voice seemed to emerge from the depths of the musical world, evoking images of Wagner’s Erda. Later, he offered a refreshing version of Rossini’s ‘La regata Veneziana’, bringing a touch of mischievousness and sophistication.
Nostalgia and Light
After the more dramatic works, Taylor returned to nostalgia with Fauré’s ‘Poème d’un jour’. Her ability to radiate luminosity through her voice was remarkable, with an articulation that captivated the audience. This was repeated with Brahms’ lieder, where his performance resonated with an emotional sincerity that touched the soul.
A Maritime Climax
Elgar’s ‘Sea Pictures’ were the centerpiece of the concert. With an intensity that silenced the audience, Taylor transported us into a world where her voice, robust and powerful, dominated with authority. Her rendition of ‘Sea slumber song’ was a moment of delicacy, while ‘The swimmer’ showed the strength of a sea goddess, with notes that seemed to summon storms.
A Nostalgic Epilogue
To close the concert, Taylor offered a tip that resumed the theme of the sea with ‘Sea wrack’, a work by Hamilton Harty based on a poem by Moira O’Neill. This choice proved to be a magnificent epilogue to Elgar’s work, leaving the audience with a sense of sea spirit and nostalgia. The promise of seeing Beth Taylor again in the near future is an expectation we all share, knowing that talents like hers are a rare gift in the music world.
