Bryn Terfel, a gentle man in real life, recruits a gang of “bad boy” characters from opera and musicals to serenade us with tunes from the sinister side of the bass clef. Thoroughly convincing as villains you would not want to meet alone in the dark, Bryn Terfel wields a full, wide ranging bass-baritone ever in service to dramatic instincts rare in any era Bad Boys delivers an original concept sure to seduce the media, wow the classical crowd and exert powerful mass appeal. No singer morphs from Don Giovanni to Mack the Knife to Sweeney Todd with Terfel’s devilish ease – Bad Boys is a delightful box of mixed (dark) musical bonbons
Arrigo Boïto: Mefistofele / Act 1
Canzone del fischio: "So lo Spirito che nega"
Giacomo Puccini: Tosca / Act 1
Tre sbirri, una carrozza
Gaetano Donizetti: L'elisir d'amore / Act 1
"Udite, udite, o rustici"
Giuseppe Verdi: Otello / Act 1
"Vanne! la tua meta già vedo" - "Credo in un Dio cru- del"
Carl Maria von Weber: Der Freischütz / Act 1
"Schweig, schweig, damit dich niemand warnt"
George Gershwin: Porgy and Bess / Act 2
It ain't necessarily so
Kurt Weill: Die Dreigroschenoper
Moritat von Mackie Messer
Arthur Sullivan: Ruddigore or The Witch's Curse / Act 2
20. When the night wind howls
Stephen Sondheim: Sweeney Todd
Claude-Michel Schönberg: Les Miserables - arranged by David Hamilton
Amilcare Ponchielli: La Gioconda / Act 1
Gioacchino Rossini: Il barbiere di Siviglia / Act 1
No.6 Aria: "La calunnia è un venticello"
Ludwig van Beethoven: Fidelio op.72 / Act 1
"Ha! Welch ein Augenblick!"
Charles Gounod: Faust / Act 2
No.7 Ronde du veau d'or: "Le veau d'or"
Wolfgang Amadeus Mozart: Don Giovanni, ossia Il dissoluto punito, K.527 / Act 2
"Don Giovanni, a cenar teco m'invitasti"
“…Terfel is a consummate singing actor. …what other artist could find such different voices for singing Il Commendatore, Don Giovanni and Leporello in the closing scene of Mozart's opera.”
“Terfel, of course, brings the smell of the theatre into everything he does. His powerful vocal presence is born of physical presence and he harnesses words, in any language, like few others. Brecht's words for "The Ballad of Mack the Knife" casually slip off Terfel's cords like the threats of a slickly attired bouncer... Sweeney Todd's "Epiphany" (with a flash of Anne Sofie von Otter's cockney Mrs Lovett - not 'arf bad) is scary to behold...”