Kate Royal does French

Kate Royal / Roger Vignoles - Wigmore Hall, 16 February 2008

Brahms - Vier Gesänge Op 70
Debussy - Cinq Poèmes de Charles Baudelaire
Poulenc - Fiançailles pour rire
Strauss - Mädchenblumen, Ich wollt ein Straüßlein binden, Als mir dein Leid erklang

What has happened to Kate Royal's bewbs? Modestly corseted for her current role in Die Zauberflöte, it's hard to tell. Unfettered tonight in a stunning dove grey halter neck grecian gown they jostled for attention  like a couple of genetically modified grapefruit. Even in the Wigmore Hall, temple of song, it was enough to arouse interval remarks about 'shapeliness' from elderly gentlemen. I don't recall anything particularly eye popping in previous appearances. Industrial-grade bra padding, or has she been shopping in the same place as Katherine Jenkins?

Unfortunately, they weren't quite spectacular enough to distract from some ropey singing in her first all-Brahms song group. Intonation and diction were accurate enough, but the higher notes elicited a sound like a fork being slowly drawn across a saucepan. She never looked or sounded comfortable. These lugubrious songs are not easy or immediately appealing. Though the group slotted well into the programme, billed as part of the Wigmore Hall's French season, Royal was simply unable to supply any real insight into their elliptical texts.

With her voice now warmed up, she produced a much more attractive sound for Debussy's five Baudelaire settings. But Baudelaire's perfumed eroticism eluded her. Imperfect French accentuated the effect of knee-clutching English reserve. Her approach to the Poulenc group was similarly buttoned-up, her only hint of abandon the occasional tiny gasp. Royal performed without a score and appeared to know the songs inside out, so it was disappointing that she felt unable to take the risks she has demonstrated in her operatic performances.

It was only in the closing Strauss group that she seemed to find the right balance between expression and control, that unexpected blend of ice and warmth in her shimmering silver tones finally ecstatic.

Her eagerly provided encore was Lia's aria from Debussy's L'Enfant Prodigue, an oddly long and doleful choice to send an audience home with. But it was delivered with all the insight and engagement her earlier Debussy group had lacked - a promise of what might have been and an indication that eventual success in this repertoire is not beyond Royal's grasp.