The Queen Elisabeth Competition had already been established as one of the most prestigious international musical events when, in 1988, it was decided to add to the violin and piano the oldest instrument of the world: the voice. Thus the Singing Competition came into being, held every four years like the older categories and particularly demanding because of its length and the different styles imposed to the candidates. The competition immediately benefited from the know how of its advisers and an experienced organisation with excellent media coverage.
Success came quickly. The variety of talents, repertories and styles gave the bests the opportunity to express themselves with three different accompaniments: the piano (for lied and melody), the orchestra of ancient instruments (for opera, cantata and baroque oratorio), and the symphony orchestra (from the classical era until today). A piece in the semi-finale (written by the eminent Belgian composer André Laporte), allowed an evaluation of the skills of the candidates vis-a-vis a contemporary score. The jury was of an exceptional standard - embodying the history of song of the past 50 years - and was responsible for the difficult task of passing a verdict.
The programme was comprehensive, the standards high and the award reflected this situation accurately.
The ovation for the winner of the First Prize, contralto Marie-Nicole Lemieux (Canada) said it all. The naturalness of her voice, the quality of her technique, the sincerity of her emotion and her charming approach enchanted professionals and amateurs alike.
The Second Prize for Marius Brenciu confirmed the good impression that this young Romanian natural tenor had made day after day. His vocal qualities and the strength of a well-acquired tradition in opera singing made him remarkable.
Soprano Olga Pasichnyk (Ukraine) had been a favourite from the beginning because of her general quality. Combining beauty and maturity, intelligence and instinct, technique and unusual natural gifts, she made everybody forget until the finale that she took part in a competition. Third Prize and awarded with the "Prix du Public", she seems ready to face the challenges of the big roles in the classical repertory.
Last but not least, Pierre-Yves Pruvot, Lubana Al Quntar and Margriet van Reisen: are three names to remember: already mature, the male voice is elegant and in command, whereas the female voices dispose of a rare timbre which are bound to make those happy who have the good fortune of hearing them.
Artists
Olga Pasichnyk (soloist), Pierre-Yves Pruvot (soloist), Robert Pomakov (soloist), Daniel Blumenthal, Marie-Nicole Lemieux (soloist), Jan Vande Weghe, Marita Viitasalo, Lubana Al Quntar (soloist), Edward J. Bak, Karen Wierzba (soloist), Jean-Pierre Moemaers, Margriet Van Reisen (soloist), Fabienne Crutzen, Véronique Solhosse (soloist), Marius Brenciu (soloist)
Academy of Ancient Music, La Monnaie Symphony Orchestra, The Monnaie Symphony Orchestra, Paul Goodwin, Marc Soustrot
