Imagine a burly, Samoan-born teenager in New Zealand, dreaming of rugby. That was Pene Pati, whose high school had an unusual rule: choir participation was mandatory for rugby players. As Pati once humorously recounted in a documentary, this led to a choir full of strapping young men, and a rugby team that would “sing their own anthem on the field and then would go out and kill the other team.”
This unique policy inadvertently launched one of classical music’s most charismatic and unexpected stars. Pene Pati has since earned critical acclaim and roaring ovations worldwide, including his Metropolitan Opera debut as the Duke in Verdi’s ‘Rigoletto’ this past January. His powerful rendition of ‘Nessun dorma’ has captivated over 300,000 viewers online, with many comparing his rich, effortless high notes to the legendary Pavarotti. His recent album of Neapolitan songs only solidifies this remarkable comparison.
This past Wednesday, in the elegant Board of Officers Room at the Park Avenue Armory, Pati delivered his New York recital debut. His program was a delightful, unconventional mix of French, English, and German songs, perfectly showcasing his lush lyric tenor and an innate sensitivity to the intricate colors and subtleties of language, much like a seasoned chamber musician. His deep connection to French poetry shone brightly in the first half, featuring compositions by Fauré, Henri Duparc, and Lili Boulanger. He articulated each word with crystal-clear diction and exquisitely flexible phrasing, truly embracing the inherent sensuality of the French language.
During Duparc’s “L’invitation au voyage,” a piece where lovers envision a realm of sensuous pleasures, Pati luxuriated over the consonants of “volupté” with an almost captivating, erotic delight. Fauré’s brief “Poème d’un jour” cycle unfolded as a poignant, miniature drama, skillfully depicting the journey from initial infatuation through sorrowful heartbreak to eventual resignation.
Pianist Ronny Michael Greenberg proved to be an exceptionally sensitive and perceptive collaborator. In Duparc’s “Phidylé,” a song of suspended desire, Pati masterfully softened his voice, allowing it to blend seamlessly within the piano’s rich texture. He then unleashed it in the poignant final line—“reward me for my patience!”—with an electrifying burst of sound. For Boulanger’s “Clairières dans le ciel” (“Clearings in the sky”), Pati conjured an ethereal, transparent vocal quality, maintaining its devout tenderness despite the melody’s intricate rises and falls. His hallmark artistry includes breathtakingly delicate pianissimos and perfectly controlled diminuendos. In a voice naturally so powerful, these moments are astonishing, akin to a finely spun Kashmir shawl that can be effortlessly passed through a finger ring.
The second half of the program commenced with works by Victorian composer Roger Quilter. While initially appearing as ‘parlor prettiness’ on paper, Pati imbued these songs with profound depth and a radiant seriousness, demonstrating a clear and heartfelt connection to their themes of gratitude and wonder.
The subsequent three Britten songs proved to be the evening’s undeniable highlight. In “The Last Rose of Summer,” Pati’s voice skillfully transitioned between somber and luminous tones, his ornamentation evoking the stark beauty of Thomas Moore’s poetry. “The Choirmaster’s Burial,” on the other hand, burst to life through his vibrant and expressive theatricality.
However, the Strauss selections were less convincing. His German felt less natural, and his delivery seemed more external rather than deeply embodied. Occasionally, Pati pushed his voice to a level that felt somewhat ostentatious. Yet, the short monodrama “Ach weh mir unglückhaftem Mann,” which tells of a penniless suitor fantasizing about arriving at his beloved’s home in a splendid carriage, delighted the audience with its vibrant and multi-character portrayal, drawing genuine laughter.
Pati concluded the evening with two encores, revealing a deeply vulnerable side. He performed Giulio Caccini’s “Amarilli, mia bella” with poignant restraint and heartfelt directness. This was followed by a beautiful Samoan song, “Le manutagi e ua tagi ta’amilo,” a tune of yearning for home that he dedicated to his father, who often sang it. It was a profoundly moving tribute, honoring the melodic heritage of his Samoan origins while acknowledging the personal sacrifices inherent in pursuing a dream career on global stages, far from his New Zealand home.
Pene Pati
Performed on Wednesday at the Armory.