Osvaldas Grinius 2007 08 22

Vytautas Juozapaitis. Photo from

Petras Geniušas. Photo from

In brief: Kaunas Mykolas Žilinskas Art Gallery did not see such a flood of visitors for a long time, most probably, as on Sunday, August 19. All willing people could not get to the concert of the prominent performers – baritone Vytautas Juozapaitis and pianist Petras Geniušas. Such a duet makes one anticipate something unusual, original and of the highest quality.


The programme selected for the concert was focused on the wide circle of listeners. Popular and well-known music pieces prevailed. The resonant baritone of V.Juozapaitis did not leave any doubtful people. Performing the complicated programme, the soloist proved that he was holding the leader’s position of Lithuanian baritones. His vocal sounded smooth, the timbre was rich and pleasant for the ear, the singer performed high notes without any strain. This was revealed well during the performance of G.Mahler songs.


Opera arias are the visit card of V.Juozapaitis. Such pearls as the prologue from the opera by R.Leoncavall “Merry-Andrews” or Figaro cavatina from the opus of G.Rossini “Barber of Seville” were performed smoothly and with excellent technique – the listeners could enjoy the interpretations of the singer.


The playing of the pianist P.Geniušas sounded also impressively – he revealed the skills not only in the solo role but also as a perfect accompaniment master. He followed the interpretations of the singer closely while solo parts of the performer became a real discharge of precise technique and sincere temperament.


The article could be ended here already if not for the hope for originality and special quality inspired by two famous names. The concert was really successful and was met by applause of the audience; still, did something special happen during it so that a person would not be able to calm down from new impressions after it? No single answer may be given.


Two prominent soloists, who have their opinion and musical taste as well as temperament, were performing – could it be the reason that influenced some problems in the quality of the performance? Too much space was left for free interpretation, and one could sense that the performers did not reach some agreements during the rehearsals.


Tempos and dynamic accents did not coincide in some places, the hope of listeners to hear music by E. Grieg, which was announced in posters, was not fulfilled. Different interpretations of performers protruded in the cycle of M.Raveli “Trois Chansons de Don Quichotte à Dulcinée” – tempos and characters differed, and the general result of the performance was not too persuasive.


There are concerts after which one may feel elevation, new energy and food for thoughts. There are concerts during which one feels well and not bored; however, emptiness prevails after the end, similarly as after watching any good comedy on TV. Still, is it a sin to crave for the highest quality which would leave a deep and lasting impression? Especially when the names of prominent performers let one hope for that.

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