1977 THE FINAL CONCERT

Although critical acclaim varied from time to time, the 24^th Gala Concert was as much a success with the audience as any previous edition had been, since the public was more than prepared to forgive any young singer for slight insecurities, nerves and other things that come with almost or entirely making one’s stage debut before an audience. Two participants of this edition were even rewarded with a curtain call!

With seven winners, the concert provided long entertainment, and André Rieu Sr., on a few occasions assisted by pianist Thom Bollen, had his hand full for the evening. Zomerdijk noted that all participants were on a par with the expectations, although not all chose their repertoire cleverly, including First Prize winner Linda Finnie, who could have used a lesson or two in French for her ‘Shéhérazade’ performance (critic J.S. dubbed it ‘dull’). However, she made the most of the two Mahler songs; especially ‘Ich bin der Welt abhanden gekommen’ revealed her vocal standing. Raili Viljakanen, ‘the fresh flower from Finland,’ even surpassed her achievement s from the finals in three songs by Richard Strauss, while Daisietta Kim proved an uncomplicated, natural vocal talent with a lush sound in all four songs by Argentine composer Rodrigo.

In William Elvin and Graham Titus two sides of the vocal specter faced each other, although Zomerdijk thought Titus the more mature artist, both because his shrewd and impeccable rendition of the Daan Manneke songs, Rachmaninoff and Brahms, as because he believed Elvin not yet up to Iago in Verdi’s Otello. Klosokowska was stylish, although still a bit formal. Janusz Marciniak had but one aria to sing, from Mendelssohn’s Elias, but he made the most of it. In the words of Chris de Jong–Stolle, it was an entertaining evening with a fine mixture of song and opera arias, remarkable given that most winners specialized in song. De Jong–Stolle’s favorites were Raili Viljakanen, Linda Finnie and Graham Titus.

Uncivilized…

J.S., in an unidentified newspaper cutting, had only one point of criticism to add to the above:

‘The late Mayor Van Sonsbeek of Breda once opened a concert with the words, ‘Where Beethoven speaks, the Mayor must not.’ We pondered about this when, during the overture to Weber’s Der Freischütz , the complete board of the organizing Foundation Muziekstad Den Bosch entered the auditorium as if it was normal. A little more respect for the music had befitted them. They and other late comers might have waiting for a more suitable moment between numbers.’ (J.S. ‘Feestelijk concert besloot Intern. Vocalistenconcours,’ Unidentified newspaper clipping, September 12, 1977).

*Thom Bollen (piano)