Erica Eloff at the Wigmore Hall

erica 

The South African soprano Erica Eloff first appeared on my radar as Fiordiligi in Così fan tutte at Garsington Opera last summer:  tall, poised, magnetic;  a fabulous voice, big, smooth and even;  a commanding presence, and acting which covered the range from comedy to tragedy, always with intensity and controlled emotion.  (And one of her teachers – as with so many rising sopranos, especially at Garsington – was my old chum Lillian Watson.)

So when I had the chance to hear Erica in a Kirckman Concert Society recital at the Wigmore Hall on Sunday, I knew I was in for a treat.

With the young and very impressive James Baillieu – also from South Africa – as her accompanist, she gave us a varied programme in a wide variety of languages, all sung with perfect diction and idiomatic pronunciation.

She began with some Schubert rarities in Italian, Vier Canzonen (D688), and continued in French with Fauré’s Poème d’un jour (three songs), Après un rêve and Fleur jetée, beautifully delivered and very touching.

So far she seemed accomplished if somewhat restrained, perhaps a little nervous (and not flattered by the awful overhead lighting;  Wigmore, can’t you manage something better than this?).  But with her next cycle of songs she was transformed:  Alleenstryd (Outcast:  the Lone Struggle) is a set of six enormously powerful songs in Afrikaans with a strong political message, composed  by Hendrik Hofmeyr (born 1957).  The music was muscular, occasionally thorny, and full of character (James Baillieu told us that the composer was one of his teachers, so the work had a personal significance for him too).  Singing in her own language, Erica Eloff finally came totally alive, bewitching us with a range of moods from despair and cynicism to flirtatiousness, nostalgia, anger and pride.  A tremendous achievement.  CD, please!

After the interval, another country, another language – Edvard Grieg’s six songs in German, Op. 48.  Grieg is such a glorious composer (and hardly given sufficient coverage in 2007, the centenary of his death);  these songs are among his loveliest and best known, and show Grieg’s unerring talent for setting a scene with the simplest of means, not to mention his gift for a great tune.  Again Erica Eloff held us captivated with her flawless singing, her wit and charm, and her alertness to every change of mood.

Finally, Rachmaninov’s Six Songs, Op. 38, gave us yet another language (Russian) and an even bigger range of moods and colours.  An ambitious choice, but one to which she rose impressively, her voice seamlessly beautiful and powerful from top to bottom of a big range.  At the end of the final song, ‘A-oo’, she held her expression of despair, puzzlement and sadness (‘But where are you? … I sing, I search, “A-oo”, I cry’) even throughout the long instrumental postlude.

A lovely little Afrikaans encore sent us away in high spirits, aware that we were witnessing the start of a great career.  Certainly a soprano to watch.  I can’t wait for her next stage appearance, nor her first CD, nor (dare we hope) a place as Miss South Africa at Cardiff Singer of the World?  She deserves it.

Thanks to Matthew Brailsford and the Kirckman Society, and my brother Tony, for the train of circumstances that led me to be part of this event!  And to Erica for her friendly post-concert greetings and glass of bubbly.  And to Diana for the photograph.

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2 Comments on “Erica Eloff at the Wigmore Hall”

  1. Maureen Eloff Says:

    Dear Jonathan,
    Thank you so much for your enthusiastic crit on Erica, last November. I really appreciate it.
    Yours,
    Maureen Eloff

    • jonathanburton Says:

      Thank you! It was a great pleasure, and we have followed Erica’s career with interest.
      (We bump into her at the Royal Opera House and elsewhere from time to time and always stop for a nice chat.)
      I was so disappointed that she didn’t get to be Miss S A at Cardiff Singer of the World…


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