Kate Morton, Jamal Al-Titi, Chea Kang, Reed Knepper and Zoë Zhou
Steven Blier's New York Festival of Song never fails to entertain and educate, but last night's iteration made a particularly strong impression on us due to the theme of the evening--"Beginner's Luck--the Artist's Journey". Mr. Blier and I share an interest in fostering the careers of young singers; the program not only involved four preternaturally gifted young singers but the structure of the program was the journey from adolescence to adulthood. In addition, we heard songs written by composers at the very earliest stages of their careers. We have a special affection for early works when young composers are experimenting with inherited forms and taking steps to put their own stamp on things.
There were sections on the program devoted to the stirrings of first love in young women and the youthful ambitions of young men, the yearning for a wider experience in the world, and finding one's way emotionally and professionally. Spending as much time with young artists as we do, we easily related to the experiences; we confess that the songs about women resonated more than those about men but we suppose that is understandable. We particularly related to songs about coming to New York City where everything happens!
Rather than tracing the development through the various stages, we would prefer to dwell on the young artists, Schwab Vocal Rising Stars all of them. We have not a single criticism of the voices; all four singers are accomplished artists. What we would like to focus on is the manner in which they engaged the audience with their storytelling gifts. Contemporary songs were treated with the same respect as 19th century lieder and mélodie.
Heard by us only once about five years ago was the memorable soprano Chea Young Kang who made a lasting impression singing a zarzuela number in which a mulatto woman has been abandoned by her lover. Last night she impressed us with her artistic growth, whilst maintaining (and enhancing) her emotional reach. We were enchanted with her communicative artistry in Grieg's "Die verschwiegene Nachtigal". She seemed to taste the words of the text and her very specific gestures had us hearing the call of the nightingale.
This was followed immediately by another song about this avian species--Alban Berg's "Die Nachtigal" in which the song of the nightingale causes the rosebuds to open, obviously a symbol of a young woman's erotic awakening. This is the only lied by Berg that we love and the more we hear it the more we love it.
A famous Korean song by Dong Jin Kim was new to us but was deeply felt. We love when singers use their entire body to communicate with the audience and we couldn't miss the graceful way Ms. Kang used her arms, leaving us wondering whether she has had ballet training.
Mezzo-soprano Kate Morton gave a delightful performance of Robert Schumann's gentle "Der Nussbaum", conveying all the hints of a young woman's dreaming of a romantic future. Ms. Morton is close enough in age to connect with this period of a woman's life and was somehow able to stir our own memories. Perhaps this was the most impactful performance ever of one of our favorite songs. How amazing that a male composer set text by a male poet (Julian Mosen) so sensitively that sense memories were evoked.
Ms. Morton captured an entirely different set of feelings in Hugo Wolf's "Begegnung", the tale of a rather circumspect meeting of a young couple the morning after a tumultuous encounter, so well captured by the piano.
Where Ms. Morton truly shone was a funny piece by Jason Robert Brown who wrote a most accurate piece describing the frustration of auditioning. We have heard from our singer friends of such disappointments as auditors who aren't paying attention, often fatigued from hearing too many singers. And the confusion of being given conflicting advice. All too true and an occasion for sympathy!
Understanding male bonding and reliance on achievement was a bit more of a stretch for us to identify with but tenor Reed Gnepper and baritone Jamal Al-Titi went a long way toward making it easy. Jeffrey Stock's "We Two Boys" made a fine case for the male bonding in Walt Whitman's text with the harmonizing vocal lines telling us everything we needed to know.
Mr. Gnepper gave a fine reading of the sensual "I Knew a Woman" by William Bolcom, never hitting us over the head with the double entendres of Theodore Roethke's suggestive text.
Frank O'Hara's tribute to his mentor "I'm so much more me" set by Robert Beaser reminded us of a most important feature in the development of opera singers and their relationship to their teachers and coaches. This was well captured in a duet by Mr. Gnepper and Mr. Al-Titi utilizing the sweetest of harmonies to express mutual admiration and caring.
We do love duets and our favorite was "When the Children are Asleep" from Rodgers and Hammerstein's Carousel. Mr. Gnepper and Ms. Kang showed their acting chops, making the scene believable.
Mr. Al-Titi blew us away with "The Traveler's Song" by Mikhail Glinka, an energetic tongue twister involving a novel train ride and the anticipation of a new love affair. This was in stark contrast with the very tender "A Child is Born" by Thad Jones and Alec Wilder.
Th program ended with Bob Dylan's rousing "Forever Young" in which the four singers raised voices to celebrate good will toward the young. This summarized so well the feelings that we share with Mr. Blier for young artists. the final line is "And may your song always be sung". Yes indeed!
Collaborative piano wa provided by Mr. Blier himself as well as by the excellent Zoë Zhou and Associat Artistic Director Bénédicte Jourdois.
As usual, we have a small quibble. If only there could be projected titles! Trying to read translations from a program book detracts from one's involvement in the performance, especially in a darkened theater. Singers took turns introducing the songs and saying a bit about them but a good singer does not always mean a good speaker. Just sayin'.
© meche kroop
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