![\"Pavol](\"http:\/\/www.musicalamerica.com\/mablogs\/wp-content\/uploads\/2013\/07\/naveePavolBreslik2.jpg\")
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By ANDREW POWELL MUNICH \u2014 With the brightness of his voice working against him at every turn, Pavol Breslik<\/a> blazed and sweated his way through Schubert\u2019s Die sch\u00f6ne M\u00fcllerin<\/em> last Friday (July 5) here at the Prinz-Regenten-Theater<\/a>. By the end, drowned in Wilhelm M\u00fcller\u2019s creek, he had somehow won over the packed house.<\/p>\n Tension built up often disagreeably. Six or seven of the twenty songs were rushed. Breaks for bottled water upheld a stagey tautness, and yes, nervousness. But in reflective settings, once the voice had warmed up, the neatly groomed lyric tenor found beauty and tonal variety. Des M\u00fcllers Blumen<\/em> and Tr\u00e4nenregen<\/em>, already at the cycle\u2019s mid-point, introduced the first degrees of poignancy and due expression. Not until Der M\u00fcller und der Bach<\/em> and the concluding lullaby, however, did Breslik imaginatively tap the tension instead of adding more, leading to rapt applause.<\/p>\n Born in Slovakia in 1979, with early training at the Academy of Arts in Bansk\u00e1 Bystrica<\/a>, this artist delivers a smooth Belmonte or ardent Lensky on other nights. He can immerse himself in a long musical line and endow it with supple legato phrasing. On this night he took no artistic shortcuts, betrayed no mannerisms, and seemed genuinely lost in the moment during much of the cycle. His sung German sounded fluent; he is clearly passionate about the words he sings. Only when he spoke (about bottled water) was an accent discernible.<\/p>\n Amir Katz<\/a>, born in 1973 in Ramat Gan, Israel, provided cagey, fleet support, which seemed a reasonable approach \u2014 perhaps the only approach \u2014 given Breslik\u2019s avid absorption.<\/p>\n Photo \u00a9 Neda Navee<\/p>\n Related posts:
Published: July 9, 2013<\/span><\/p>\n
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