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Baritone Christopher Purves kindly shares his candid thoughts (and apprehensions!) of singing the role of Polyphemus in two different versions in one day at Wigmore Hall on 14 February 2009. Also see below for information on tickets.

“There’s only one way to find out whether it’s a good idea or not and that’s to do it!” Wise words from the comfort of the piano seat nestled easily into the space beneath the keys of a magnificent Steinway grand in a spacious front room of an imposing North London residence, sipping from an elegant china tea cup and basking in the last rays of warm sunshine that concluded a very successful lesson.

Well it’s no longer summer, you’ll have noticed, and the weather is the sort that makes singers reach for their third scarf and vitamin C tablet cursing the day that they accepted the engagement and the fact that they have to take public transport. Why is it that those selfish types who cough and splutter and sneeze their way to work don’t realise that I’m a singer and my voice is my life, my job and my bank account? “No sounds, No pounds” is what they used to say in my rock ‘n’ roll days, and they were right. (4hrs 32 mins to go until that first bottom D; 4hrs 33 mins to the first top A.) Not that I’m worried about two notes, it’s only two amongst thousands that the lucky folk of the Wigmore Hall will be enjoying tonight, providing they can all persuade their partners to forgo tea at the Savoy as a prelude to dinner at the Ritz in order to be joining us (Gabrieli Consort and Players) for the afternoon and evening of Valentine’s Day.

Why did I say I’d do it? I suppose it was the challenge of singing two very demanding roles back-to-back, which is something that doesn’t come your way very often. It is also a chance to sing two of my favourite pieces composed by one of my favourite composers at the Wigmore Hall that sold it to me. But it will be a sort of half marathon. Nothing like having to sing Tristan, Wotan or Hans Sachs – that’s about real stamina. This is more about marshalling your forces so that the nuance, the soft, the loud, the roar, the pleading, the mad and the nasty can be voiced appropriately.

These pieces really are so different vocally and contextually. Aci, Galatea e Polifemo is almost unremittingly angry, voracious, rapacious and yet contains the most tender aria outside Samson written for the bass. Polifemo is not a man who understands the word ‘no’, and is certainly not used to having to ask twice. There cannot be many Handel operas or oratorios which have so many bass arias, and written in such hugely contrasting ways; all these written for a man with the most incredible range of over two and a half octaves.

Acis and Galatea poses similar problems, not necessarily in terms of the role’s length but certainly in that since Polyphemus doesn’t get his way, all the toys come hurtling out of the pram and towards Acis’ head. Polyphemus doesn’t visit the vocal extremes of his Neopolitan uncle, it was written some 10 years later and had been toned down to suit the more pastoral English feel. Nonetheless, the aria ‘O Ruddier than the Cherry’, still demands the dexterity, the lightness of touch and the seriousness usually reserved for university productions of G&S!

On a more serious note, for any person who is passionate about his or her music and Handel in particular, it’s not likely that you will ever hear the two great works performed on the same day ever again in your lifetime. It’s the most wonderful opportunity to witness how 10 years, together with a complete change of country and culture can alter a composer’s thoughts. Most importantly, if Valentine’s Day comes once a year and this musical occasion once in a lifetime, don’t you owe it to your loved one to witness a Blue Moon or a Pig Flying rather than another red rose?

PS 2hrs 10mins to go… I’ll be fine - don’t worry - but wouldn’t you like to be sure?

- Christopher Purves

BOOK TICKETS: Click here for information on the concerts and booking