A singer who wants to play their own accompaniment at the conductor’s podium will find it challenging. Unlike a conducting pianist, he must face both the audience in the auditorium and the orchestra on the podium in order for the voice to have the full impact it deserves. That entails swaying while creating music and a certain agitation.
Outside appears lovely, but inside is the devil
The popular and multi-talented singer Bejun Mehta bravely accepts this challenge and interprets the Bach cantata “Resist but the Sin” with the Konzerthausorchester. It talks about how sin has a dual personality and is both “lovely on the exterior” and “of the devil on the inside.” Mehta leads energetically to depict the contrast in the music in the recitative: “From the outside gold” stands in contrast, entirely “whitewashed grave,” in uncanny harmony. The composition starts out with jarring dissonance.
The feat of fresh rendition is successful, the small orchestra (strings and continuo only) attentively following him as he grasps the lyrics. In a piece of funeral music by Melchior Hoffmann that has been included in Bach’s catalog raisonné as a disputed BWV 53, his countertenor develops even more sweetly.
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But Bejun Mehta, the conductor Zubin Mehta’s grand-nephew, has also been working hard with the baton for the past few years. Because he played in orchestras as a young cellist, he refers to it as a return. He now starts with Bach and Mozart, two composers with whom he was able to gain expertise as a vocal soloist. While he dazzles with brave flexibility in Johann Sebastian Bach’s overture in D major, with the overture to “Mitridate,” he demonstrates above all that he can communicate precise tempo concepts to the performers.
In 2005, the Mozart opera marked his countertenor debut in Salzburg. Since then, he has performed frequently in the top opera houses throughout the globe, captivating audiences not only with his throat gold but also during solo performances. because he is familiar with the effects of baroque music and its embellishments as a singing interpreter. Not just because of its brilliance, the voice is captivating. Mehta sings in a seductive legatissimo. He sang as Orfeo at the Berlin State Opera under Daniel Barenboim.
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However, he currently performs at the Konzerthaus as a conductor of just instrumental music and astounds even his admirers in this prominent capacity as a musician with enthralling creative individuality. The audience’s amazement is evident in the sudden uproar of applause. Mehta integrates the quaver movements after the octave leaps into delicate arcs, distinguishes the cantabileness of the homogenous string groups in Mozart’s A major youth symphony, and gently leads virtuoso runs through their modulations. There is a tension inside the music.