Pretty Yende is a wonderful singer with a bright future ahead of her. Nothing about last night’s recital at Cadogan Hall would give anyone a reason to doubt this. Her voice dazzled, and she and James Vaughan seemed to move as one through Italian, French, Spanish and English repertoire. And yet, somehow, as I listened to her stunning coloratura and clear lyricism, I was unsatisfied. Frustratingly, she showed only tantalising hints of her artistry in this recital.
The programme might have worked better in a smaller space, as it had a salon-esque feel to it. Yende and Vaughan added to this sensation, with Yende in particular beginning in a rather internalised fashion. She warmed into the Italian opening set, although it wasn’t until the final one, “Amor marinaro” that she and Vaughan seemed to let themselves off the leash, Vaughan in particular, as he almost danced in his seat.
Yende spent a lot of time looking at the floor, although she did also direct her gaze around the room. This mattered less in “Villanelle”, where her coloratura was a marvel, particularly when she was unaccompanied. Towards the end of the first half she opened up a little more, being at her most engaged and engaging in “Les chemins de l’amour”, and “Les filles de Cadix”, enjoying the sexy Spanishness of the latter.
Normally a performer’s outfit choice wouldn’t merit comment, but Yende set the tone of the second half by changing from a yellow gown into a red flamenco-style dress that matched the Giménez set that opened the second half. In “Zapateado”, it finally felt as if Yende herself was beginning to have fun, with the fast Spanish almost falling from her mouth, and she was more believable over all. In the Herbert set which closed the official recital list, I truly appreciated how extraordinarily good her diction is, as well as her complete command of a myriad of languages.