Performance: Bryn Terfel

Aotea Centre

Review: Tara Werner

From the moment he walked on stage with an All Black supporters' scarf, Bryn Terfel had everyone in the palm of his hand.

"Yes, I was there," he said in his Welsh accent to the wildly cheering audience, before launching into a superb rendition of Schubert lieder.

He knew how to control his fans, too, telling them firmly not to clap until the end of each section, so allowing maximum concentration on each song.

But sadly, this wonderful virtuoso had to contend with a dreadful cacophony of coughing throughout most of the programme.

The volume of noise from the audience was highly insulting to the singer.

Luckily, Terfel could easily fill the auditorium by the sheer strength of his voice, ably accompanied by pianist Malcolm Martineau.

Given the size of the theatre, this was remarkable. It was clear why Terfel is the world's best bass-baritone.

One song after another was sung so effortlessly that it seemed pointless to isolate which was best.

Suffice to say that Schubert's Litanel auf das Allerseelen showed an outstanding eloquence in its hushed, meditative quality, while on the opposite end of the scale, Schumann's Die Beiden Grenadiere was powerful, culminating on a triumphant Marseillaise.

And Terfel seemed equally comfortable with both Ibert and Butterworth, the former's Quatre Chansons de Don Quichotte more Spanish than the Spanish.

Finally, a number of Welsh and Scottish songs highlighted an endearing sentimental streak.

But it was the last encore that brought everyone to their feet.

Who but Terfel could get a packed house to join him in choruses of "Mud, mud, glorious mud?"