WIE WUNDERBAR!

German Forum President Barbara Heming, pianist Babette Hierholzer, oboeist Julia Obergfell, and baritone Äneas Humm

Last night's German Forum presented their Fall Concert at Lincoln Center's Bruno Walter Auditorium and we are pleased to report that in spite of ex-President Henry Meyer-Oertel's retirement, the music and good fellowship remain intact under the stewardship of new president Barbara Heming.

Guests were welcomed, the mission reiterated, and the young artists presented. We were introduced to the astonishing young baritone Äneas Humm several years ago when the German Forum brought him here from Switzerland. We were amazed by his artistry back then and he has only gotten better each time we hear him.

Last night his light lyric instrument served well in a selection of Schubert lieder. In "Der Wanderer" (the one with text by von Lübeck) the poet is lonely and unhappy; this was successfully conveyed by the singer's word coloring. The contrasting third stanza ("Wo bist du") was filled with anguish. Mr. Humm rose to the challenge of the low tessitura.

The poet in "Der Wanderer an den Mond" is also lonely; but the colors were different as he contemplates the moon and compares their differing situations. The excellent collaborative pianist Babette Hierholzer established a walking rhythm.

"Der Jüngling an der Quelle" tells of a youth filled with unrequited longing; both singer and pianist filled out the music with sweetness.

We can think of no lieder composer we love more than Schubert but we have no love for "Der Zwerg". The problem is not with the music or its performance. We just hate the story of the jealous dwarf who strangles his Queen and throws her into the sea. Still, our singer is a master story-teller.

Robert Stolz's compositions of the early 20th c. bring fresh delights to the ear. From his operetta Mädi, we heard "Bisschen Liebe tut gut" and for this our singer assumed a rakish pose and a charming seductive mien that suited him well.

Not as well suited to his voice was "Sorge infausta una procella", sung by the magician Zoroastro in Händel's opera Orlando. This aria is usually sung by a heavy bass and was not the best choice for a lyric baritone. Furthermore, work needs to be done on the articulation of the fioritura.

Far better were two songs by Viktor Ullman, the Austrian composer who wrote the satirical opera Der Kaiser von Atlantis which we have twice reviewed. Mr. Humm performed two songs of his that were translated from Farsi--"Vorausbestimmung" and "Betrunken". The music is replete with early 20th c. irony.

Co-starring on this interesting and varied program was young German oboist Julia Obergfell who began her musical childhood as a pianist until she fell in love with the oboe. We have also loved the oboe solos in symphonic works but have never heard the oboe in recital. Last night we realized how similar to singing it is.  Breath control and phrasing and color are all important.

The first movement of Schumann's Romance, Op. 94 had some graceful phrasing and a mournful feel. In contrast, we heard Telemann's Fantasy in B minor which demanded a crisper sound and some impressive staccato. Ms. Obergfell's artistry is unmistakable.

Her major work on the program was Poulenc's Sonata for Oboe and Piano. The Elégie was melodious and mysterious and had an impressive trill.  The Scherzo was frisky and fast with fleet fingering required on the repeated notes. The final movement Déploration involved some pensive phrasing and lived up to its meaning--"lamentation". In Ms. Hierholzer, the singer found a worthy piano partner indeed!

We were so happy to see Mr. Meyer-Oertel in the audience and equally happy that the German Forum continues its worthy mission of bringing young artists from German speaking countries to the USA to perform. We have a high level of confidence in the new President Barbara Heming. You too can be part of this valuable organization for a modest contribution. Music, food, wine, and good fellowship!

(c) meche kroop

ARTISTIK DEUTSCHER STIL

Barbara Heming, Babette Hierholzer, Christine Reber, and Jacob Cirkel

The last time we wrote about the German Forum, we were bidding a sad farewell to long-term President Henry Meyer-Oertel. This time we are offering a warm welcome to new President Barbara Heming who seems to have the future of this outstanding organization well in hand. They will continue to provide performance opportunities for young artists from the German speaking world and enticing entertainment for members and their guests.

Last night we were offered an interesting program on the basis of the presence of a brilliant young instrumentalist--Jacob Cirkel, who has mastered the French horn, an instrument the sound of which we adore, even when it cracks.  It is like a beloved friend that we cherish, even when this friend is cranky, which, we confess, we felt about this concert.

The soprano, Christine Reber, sang into the detested music stand for the entire evening, with the exception of a couple minutes when she entered from the wings singing "Meine Lippen, sie küssen so heiss" from Franz Lehár's Giuditta. We were ready to celebrate her liberation from the score but, once again she sidled up behind the stand.

We wish we were telling you about her sweet warm ingenue tone and the pleasures of hearing German sung the way it should be; but, no, here we are feeling cheated of the very pleasures for which we attend vocal recitals. Sometimes we grit our teeth and overlook this recital shortcoming when there is a premiere of difficult new music. But when a singer has chosen a program of standard works and cannot go to the trouble to memorize them, we do feel cheated of the connection that elevates a live recital above listening to a recording.  Frankly, we felt we were attending a music lesson.

The good side of this, and we always do look for the good side, is that we focused more on the collaborative piano of Babette Hierholzer who has terrific technique and matchless ability to support the other artists. In Beethoven's lovely "Ich liebe Dich, so wie Du mich", she gave every verse of this strophic song a different color.

Beethoven's Sonata for French horn and piano, op.17 was a revelation. She and Mr. Cirkel passed melodies back and forth and handled the major/minor shifts so stylishly! It was easy to see the influence of Mozart on the young Beethoven.

We are not familiar with Josef Rheinberger but the opening movement of his Sonata for French horn and piano in E flat Major from 1894 opened with a marvelous fanfare.

For the Act III prayer "Und ob die Wolke sich verhülle" from Carl Maria von Weber's Die Freischütz, the French horn replaced the cello part. This opera was presented by Utopia Opera three years ago and we enjoyed it so much in all its supernatural glory.

The German Forum loves to bring in an instrumentalist so that rarely heard vocal works can be performed. This was the first time we heard Richard Strauss' "Ein  Alphorn hör ich schallen" and, indeed, Mr. Cirkel provided the offstage horn call. If only Ms. Reber had directed her sound toward the audience, instead of down into the score!

There is plenty of room for the development of color in her voice. Three songs by Strauss required much more variety, which we did hear in the piano.  Ms. Hierholzer invested the opening bars of "Morgen" with an ethereal color, very different from that of "Die Nacht", which is quiet in a stealthy way.  The wild enthusiasm of "Zueignung" was expressed in a wild flight of arpeggi.

Schubert's "Auf dem Strom" is another piece we rarely hear and the horn melody is absolutely glorious and well supported by the piano.

Fred Raymond's Maske in Blau is unknown to us but hearing "Die Juliska aus Budapest" made us want to see the entire work. Ms. Reber made an attempt to act but it is truly impossible when one is looking at the score.  Gestures tend to appear superficially pasted on, rather than emerging organically from the text and the music.

The evening closed with the lovely Act I aria from Rossini's Semiramide --"Bel raggio lusinghier" which we just heard at the Metropolitan Opera with Angela Meade.  Ms. Reber's skill with bel canto was impressively accurate and we sat there hoping that the next time we hear her we will hear her from the heart and not from the page. There is ample talent there but communication with the audience surpasses technique.

Membership in the German Forum is so worthwhile! Junior memberships for those under 30 are extremely affordable. An added inducement is the generous buffet reception offered before and after the musical program, giving every audience member an opportunity to meet and greet the artists.

(c) meche kroop

MOSTLY SCHUBERT

Henry Meyer-Oertel, Ulrich Roman Murtfeld, Phillip Solomon, Katherina Hagopian, and Babette Hierholzer in German Forum concert

Last night's German Forum evening comprised mostly works by Franz Schubert, at the request of outgoing president Henry Meyer-Oertel who has served so very well and deserved the standing ovation and honorary plaque several times over. 

The German Forum continues to do extremely well in fulfilling their mission--that of providing performance opportunities here in New York City for young artists from the German-speaking world. We have been introduced to a number of outstanding performers whose careers we continue to follow. To be chosen by the German Forum is a great honor and can initiate a pathway to success here in New York City.

For us, the highlight of the evening was a work we always love and always wish to hear more of--"Der Hirt auf dem Felsen". This piece of chamber music paints a vivid picture of a young shepherd in the Alps who is consumed by loneliness and longing for his sweetheart.  Schubert composed the work in 1828, toward the end of his tragically short life.

It was most likely composed upon request by a soprano friend of his who wanted a showpiece. Schubert made good use of text by Wilhelm Muller who also provided text for Schubert's two beloved song cycles, "Winterreise" and "Die Schone Mullerin". The parallels between Schubert's life and that of Muller is interesting in that both lived at the same time and both tragically died young.

The work opens with a gorgeous theme in the clarinet, here played with maximum artistry by Phillip Solomon, an undergraduate at Juilliard. The theme bounces between clarinet and soprano; they echo one another reflecting the text in which the shepherd has only his own echo for company.

The soprano we heard was the lovely Katherina Hagopian who has studied in both Germany and the USA, notably at Mannes College.  (She has made quite a name for herself internationally, but we first became acquainted with her work three years ago when she sang the role of Alcina.)  The work offered many opportunities to show off her artistry of phrasing and expression of moods. The vocal part reminded us of yodeling with its difficult wide skips, all of which Ms. Hagopian negotiated successfully.

The central section, the darkest, was set to text by Karl August Varnhagen von Ense. Fortunately, the final section ends cheerily by announcing the coming of Spring when perhaps the young man will be able to reunite with his beloved.

The gorgeous melodies in the voice and clarinet were laid over a background of arpeggiated chords in the piano which reminded us of Schubert's Standchen D.889 which was composed 2 years earlier. German Forum Artistic Director Babette Hierholzer performed it beautifully.

She also was the collaborative pianist for three songs by Schubert sung by Ms. Hagopian. By way of introduction we learned that Robert Schumann idolized Schubert with great eloquence, saying that Schubert wrote a diary with music instead of words.

In "Gretchen am Spinnrade" Ms. Hagopian expressed all of the romantic fantasies haunting the heroine of Goethe's Faust, showing her delusional side to great effect. Meanwhile, it was up to Ms. Hierholzer to convey the obsessive turning of the spinning wheel.

"Der Zwerg" is just too gruesome for our taste but we always love Schubert's "Ave Maria" although we would have preferred it sung off the book. We speculated that Ms. Hagopian might have had a problem with the Latin; otherwise we can find no excuse. Schubert loved his arpeggi and so do we, especially when played as sensitively as Ms. Hierholzer did!

Guest pianist Ulrich Roman Murtfeld opened the program with Schubert's "Impromptu in F Minor" which has a wealth of melodic material. We particularly enjoyed the lyrical second theme. In the third theme it sounded as if the left hand and the right were having a conversation.

The closing piece on the program was Schubert's "Fantasie in F Minor"--Schubert did seem to have an affinity for that key. This is a work for piano four hands and Ms. Hierholzer played the treble part with Mr. Murtfeld playing the bass part. The first theme was haunting and the work became increasingly dense in texture.  The return of the first theme was as welcome to us as the coming of Spring was to the shepherd in "Das Hirt auf dem Felsen".  Of course, Schubert being Schubert, the theme was reworked but always recognizable and satisfying.

The non-Schubert pieces played by Mr. Murtfeld including some charming short pieces by Edward MacDowell, a 19th c. American composer who studied in Germany. Two excerpts from his Woodland Sketches (new to us but now well liked) included "To a Wild Rose" and the peacefully floating "To a Water Lily". His "Moto Perpetuo" from Twelve Virtuoso Studies was a piece to keep the fingers busy!

We remember Louis Moreau Gottschalk from the music used for several ballets performed by The Joffrey Ballet.  Last night, Mr. Murtfeld played "The Banjo", also called "Fantaisie Grotesque". We found nothing grotesque about it but it surely did sound like the picking of a banjo.

It was an altogether delightful program. The evening was capped by the presentation of a plaque to President Henry Meyer-Oertel, acknowledging his long and devoted service to the German Forum. Under his leadership, 70 events have been presented and a couple hundred artists introduced. He will be dearly missed but the German Forum will continue under new leadership and we will continue to attend these wonderful programs.

(c) meche kroop

EINE UBERRASCHUNG!

Babette Hierholzer, Stephen Tharp, Anne Riegler, and Katrin Bulke at German Forum Concert

The most amazing and wonderful surprise occurred smack in the middle of a compelling concert given by the German Forum in the sanctuary of St. Peter's Church. Phenomenal young baritone Aneas Humm stopped by on his way to the airport to dazzle us with a selection of lieder from Schumann's Liederkreis, with one lone selection from Myrthen.

We first became acquainted with Mr. Humm last year when the German Forum introduced him. His resonance has deepened over the year of concertizing in Europe with collaborative pianist Babette Hierholzer. His interpretive skills have also deepened and he used a full range of colors in his singing, from the expansive "Im wunderschonen Monat Mai" to the fierce "Ich grolle nicht" to the excited "Die Rose, die Lilie, die Taube, die Sonne". The final selection "Du bist wie eine Blume" might just have been part of the cycle; it fit right in. Mr. Humm seems to taste and savor and color every single word without sacrificing legato phrasing.

This was just icing on the delicious cake of a recital as sweet as a Mozartkugel. There was more variety than usual, since a prodigious pianist from Germany was on hand to delight us with several of Ravel's tributes to other composers, and a versatile soprano who showed her skills as a coloratura, and also as an operetta heroine.  Moreover we heard some interesting organ music resonating through this cavernous space which has such excellent acoustics.

Since opera is our thing, let us begin with Ms. Katrin Bulke who electrified the audience with the famous Queen of the Night aria from Mozart's Die Zauberflote. "Der Holle Rache" is known for it's high-lying tessitura and need for pinpoint accuracy. Ms. Bulke fulfilled every requirement, as she did with Amina's sleepwalking aria from Bellini's La Sonnambula, "Ah non credea mirarti" with its stunning cabaletta "Ah non giunge".

Later on, the artist, accompanied by Ms. Hierholzer, gave us two arias from operettas.  We heard Fanny's aria from Johann Strauss'  Die Tanzerin Fanny Eisler--"Draussen in Sievering". It was obvious to us that the requisite technique was no different from that of Queen of the Night. In a more Hungarian vein, we heard "Meine Lippen, sie kussen so heiss" from Franz Lehar's operetta Giuditta. We even got a little barefoot dance, perhaps a Czardas but, who knows!

Accomplished pianist Anne Riegler engaged the audience with her charming introductions to each piece and held our attention with some fine playing. We heard a Sonata by Joseph Haydn with its gloriously contemplative Adagio--and then a tribute to Haydn written by Maurice Ravel, variations written on the letters of his name. 

A frisky and propulsive scherzo by Alexander Borodin was followed by Ravel's brief "Valse a la maniere de Alexander Borodin".  A baroque piece by Francois Couperin was succeeded by Ravel's Prelude to Le tombeau de Couperin.  The concept is an interesting one and the basis for Ms. Riegler's recording, soon to be released in the United States.

And that was not all! Organist Stephen Tharp, stepping in for his indisposed wife, performed the rhythmic and melodic "Toccata for Organ" from Leon Boelllmann's Suite Gotique. But even better was his duet with Ms. Hierholzer on the piano--Cesar Franck's Fugue and Variations op. 18 for organ and piano. Mr. Tharp's refined Gallic melody was played with a reedy sound whilst Ms. Hierholzer supported with dynamically varied arpeggios. This sounded unlike anything we have heard before and delighted us far more than the closing piece--Mendelssohn's Overture to the Oratorio Saint Paul which just sounded like typical church music.

The German Forum continues to impress us with the quality of the talent they unearth from the German speaking world. Membership is now open and worth every penny. We might add that there was also a generous repast of delicacies accompanied by wine and beer. This made for an evening that was nourishing to body and soul. Korper und Seele!

(c) meche kroop

GERMAN FORUM SCORES A BIG WIN

Mariella Haubs, Babette Hierholzer, Gerard Schneider, and Jardena Fluckiger

Evenings of classical music offer many delights but transcendent moments happen but occasionally and produce feelings of incomparable bliss. We experienced just such a moment last night at the German Forum concert at the intimate Bruno Walter Auditorium at Lincoln Center.

The special moment occurred when tenor Gerard Schneider was singing Richard Strauss' "Allerseelen". The poet tells of the sole day of the year when one gets to reunite with loved ones who are no longer on this earth. Mr. Schneider sang it with a depth of feeling that leapt right from his heart to ours. It was the the kind of connection we dream about and what every singer longs to achieve. Our eyes brimmed with tears.

By contrast, he sang Strauss' "Zueignung" with a blend of tenderness and passion that was thrilling to hear. Here is a tenor well on his way to superstardom who knows exactly how to use his gorgeous instrument. He also sang selections from Schumann's Dichterliebe with great control of dynamics and color, soothing the sore ears we got from enduring a recent awful performance, one we declined to write about.

And if one wanted something lighter, he gave us "Dein ist mein ganzes Herz", the well known aria from Franz Lehar's Land des Lachelns; he sang it ardently and we were completely enraptured. "Ach, so fromm" from Friedrich von Flotow's Martha was sung with the tender tones of love.

Soprano Jardena Fluckiger has a lovely pure tone and entertained us with some of our favorite songs by Hugo Wolf, selected from his Italienisches Liederbuch. She has an expressive face that complements her voice, and when she employs bodily gesture it adds a fine dimension to her performance. We always love the racy "Ich hab in Penna einen Liebsten wohnen" and, after the punchline, Babette Hierholzer's piano contributed the most delightful postlude.

Ms. Fluckiger gave us some impressive coloratura singing in "Quel guardo" from Gaetano Donizetti's Don Pasquale. The embellishments were well handled and there was a particularly fine trill.

Compared with the bel canto fireworks, the two songs by Claude Debussy from Quatre chansons de jeunesse seemed a bit pallid and wanted more color.

Rounding out this superb program was music for violin and piano, performed by Ms. Hierholzer and concertmistress of the Juilliard Orchestra Mariella Haubs, who deserves all the accolades she receives. She was playing a Peter Guarneri violin from 1721, loaned by The Juilliard School, and what a sound came from this instrument!

Ms. Haubs is beautiful and glamorous but if you close your eyes you would believe it was someone very very famous and of more advanced years. The star number was the first movement of Beethoven's Kreutzer sonata, the presto section of which is forceful and technically demanding of both pianist and violinist. The two artists rose to the occasion to such an extent that we wanted desperately to hear the rest of the sonata but, alas, it was not on the program.

Instead we heard "Winter" from Antonio Vivaldi's The Four Seasons, a seasonal selection in which we could hear the snowflakes falling. Also on the program was Mozart's Sonata in F Major with its rapid fire triplets.

The evening ended with two selections from Lehar's Die Lustige Witwe.  First, Mr. Schneider sang the role of Camille, Count de Rosillon, inviting Valencienne (Ms. Fluckiger) to a romantic rendezvous in a pavilion. Then we heard "Lippen schweigen", the Act 3 duet between Hanna and Count Danilo, accompanied by violin and piano.

The German Forum, helmed by President Henry Meyer-Oertel, provides performance opportunities for artists from German speaking countries and has a loyal and devoted following. Many of the members share a passion for German composers and, naturlich, the singers sing German the way it should be sung. Their events are always major treats! Those who read our opinions know how highly we esteem the versatile collaborative pianist Ms. Hierholzer. Watch out for the next event!

(c) meche kroop

GERMAN AS IT WAS MEANT TO BE SUNG

Henry Meyer-Oertel, Aeneas Humm, Magda Gartner, Babette Hierholzer

It was a special evening.  It was a VERY special evening. It was a most rewarding lieder recital given by the German Forum at the lovely home of German Consul General Brita Wagener, 42 stories above the congested streets of midtown Manhattan. 

There are two very special qualities to appreciate about the German Forum. One is the valuable performance opportunities they provide for German speaking young artists; the other is the valuable entertainment and stimulation they provide for their members and guests. Membership comes at a modest cost and the socializing before and after the recital is always gemütlich, whether one is German or not.

Last night's recital brought back two gifted artists whom we reviewed last February (review archived); we were thrilled for the chance to hear them again. The program comprised both lieder and opera duets.

Mezzo-soprano Magda Gartner opened the program with Robert Schumann's Frauenliebe und Leben, a highly dramatic song cycle he composed in 1840, just ten years after Adelbert von Chamisso wrote the poetry. We don't care that the poetry has been criticized for taking the position that a woman's life revolves around a man. This was written in the 19th c. and such was often the case. Listening to the text gives us insight into "a woman's love and life".  Indeed!

But listening to the music provides emotional content which amplifies our experience. Schumann's writing conveys many aspects of love, as it grows from childlike adoration to mature acceptance of the responsibilities of love, the satisfaction of motherhood, and eventually to the pain of loss.

It is up to the singer and collaborative pianist to show what the poet tells. Each time we hear this cycle we hear something new, as one tends to do with great music. Last night, Babette Hierholzer, Artistic Director of the German Forum,  accompanied mezzo-soprano Magda Gartner in a fine performance of the cycle.

Ms. Gartner's voice has a lovely caramel-toned timbre that she employs well with apt phrasing and lots of feeling. The frivolity of an infatuated young girl gave way to the serious consideration of the responsibilities of marriage. The ambivalent joys of the wedding day yielded to the unambivalent joys of motherhood. A new roundness of tone crept into Ms. Gartner's voice.  The hollow barrenness of widowhood in the final song was relieved by the postlude in the piano which reflected back to the beginning joy.

Ms. Gartner has a firm hand on all these colors; we sense that she is on the right track with her interpretation and that she will continue to develop even more subtleties of coloration.

We were as excited to hear an undiscovered lied as Ms. Gartner had been to find the score--in a flohmarkt, of all places!  Composer Robert Fischhof (1856-1918) came from a Viennese family with musical talent on both sides. He studied with Bruckner and Liszt, but his voice is his own. 

Ms. Gartner committed herself completely to his "Stark wie der Tod" which challenged the very bottom of her register but did not defeat it. The sentiments of poet Theodor Salzburg-Falkenstein came across beautifully and the vocal line swelled to a glorious climax.  We wanted more from this all-but-forgotten composer!

Taking over for the second half of the program was baritone Aeneas Humm, a youth of twenty years with a mature instrument that belies his tender years. Already famous in the German speaking world, his talent has been recognized and celebrated abroad. Here in New York City, this is only our second time hearing him but it surely won't be the last.

He chose to perform selections from Schumann's Dichterliebe, a cycle of songs about a poet's love, with text by Heinrich Heine. This cycle also requires many changes of vocal color as the poet moves from hopefulness to ecstasy and adoration of the beloved. Mr. Humm colored his voice darkly for the lower register of "Im Rhein, im schönen Strome" and conveyed all the bitterness in the ironic "Ich grolle nicht". In "Aus alten Märchen" he captured the dreamlike essence of a fantasy and changed abruptly when the poet confronts his reality.

It was such a pleasure to hear German sung by native born Germans without having to worry about diction!  But Mr. Humm also gave us a lovely song in fine French--"Le Fugitif" by contemporary Berlin composer Alexander Liebermann, whose work we so admired in last February's recital. The setting of text by Paul de Roux was rapturously rendered by composer, pianist and singer.

Next on the generous program were three duets by Mendelssohn, written originally for two sopranos. Settings of texts by Heinrich Heine, they allowed the two singers to adjust their voices to one another and blend in 19th c. harmony. Our favorite was the gentle "Abendlied", a contrast with the final song "Wasserfahrt", a propulsive song in which a sailor deals with the loss of love.

We were fortunate to have two encores--duets by Mozart--quite fitting since Mostly Mozart has just begun at Lincoln Center (reviewed yesterday). In "Il core vi dono" from Cosi fan tutte, Dorabella and Guglielmo pledge their love.  In "La ci darem la mano", from Don Giovanni, the eponymous hero succeeds in luring Zerlina to his castello.

Mr. Humm is returning to Europe and we hope we won't have to wait to long for his return.  Ms. Gartner however will be performing in the upcoming Dell'Arte season and we are looking forward to hearing her next month.  And so should you!

© meche kroop

A PRE-VALENTINE TREAT FROM THE GERMAN FORUM

Michael Hey, Magda Gartner, Babette Hierholzer, Äneas Humm, Alexander Liebermann, and Henry Meyer-Oertel

Those who love German culture (count us in!) should be aware of the exciting events programmed by the German Forum, of which Henry Meyer-Oertel is President and Babette Hierholzer is Artistic Director. This worthwhile organization gives young German-speaking artists the opportunity to perform in New York City. We have attended several of their events and have always enjoyed them immensely.

Last night we were introduced to two excellent new singers, a highly talented organist, a 20th c. Swiss composer, and a contemporary composer whose work we actually loved (surprise!); we also enjoyed a lovely cocktail hour with German delicacies. Food for the spirit and food for the body!

Most astonishing of all is the 20-year-old lyric baritone Äneas Humm whose talent surpasses his youth by a huge factor. It is a beautiful instrument with lovely overtones; the manner in which he employs it indicates a great deal of serious study. A Züricher, he is already well known in Europe.  Last night was his New York debut.

He showed vocal expressiveness in two songs by Edvard Grieg and a trio of songs by the 20th c. Swiss composer Othmar Schoeck, a composer to whom we were thrilled to be introduced. Having gone online to amend our ignorance we discovered that he wrote several hundred songs. We can only hope that other singers will avail themselves of this vast collection. The three we heard were lovely, with our favorite being the melodic "Nachklang" with text by von Eichendorff.

Mr. Humm gave a tender performance of "O du mein holder Abendstern", from Wagner's Tannhaüser, exhibiting fine dynamic variety and coloring. Babette Hierholzer accompanied him beautifully on the piano. From Donizetti's L'Elisir d'amore, he sang "Come Paride vezzoso" with substantial control of the phrases at the lower end of the register and a nice facility with the fioritura. He made a very good attempt at portraying the arrogant Belcore but his gentle nature kept poking through.

He also sang a pair of songs by the prolific Viktor Ullmann who died tragically during the Holocaust. This is another composer who merits more attention from singers. Mr. Humm sang two songs from The Songbook of Hafis, translated from Farsi and dealing with the jolly and tragic aspects of alcoholism.

As if this were not enough, we heard the world premier of "Le Fugitif" by the gifted young composer Alexander Liebermann. Readers may recall how much dissatisfaction we have expressed with contemporary songwriting and will be surprised to learn that we loved this song, not only the piano writing but the satisfying melodic vocal line. The French text was beautifully sung by Mr. Humm. We want to hear more from Mr. Liebermann!

French seemed to be the language of choice for mezzo-soprano Magda Gartner who excelled in her "Seguidilla" from Bizet's Carmen and also in "Nobles seigneurs" from Giacomo Meyerbeer's Les Huguenots. Her French was superb.

We enjoyed "Sei wir wieder gut" from Richard Strauss' Ariadne auf Naxos and also two arias in Italian from this tri-lingual artist. She graciously introduced us to two of Mozart's ladies going off the deep end. We heard Donna Elvira's "Ah! Fuggi il traditor!" from Don Giovanni which showed off her bright upper register and then Dorabella's difficult aria "Smanie implacabili" from Cosi fan tutte, in which she captured the character's adolescent angst.

We do not consider ourself to be a fan of organ music but we were definitely dazzled by the artistry of Michael Hey who is establishing an impressive career since graduating from Juilliard last year.  He "let out all the stops" (sorry about that) in Léon Boëllmann's "Toccata" from Suite Gothique and in Max Reger's "Phantasy on chorale" which reminded us of Phantom of the Opera.  

He also gave a nuanced reading of J.S. Bach's "Schmücke dich, O liebe Seele".

We always enjoy Ms. Hierholzer's collaboration, giving each artist a fine partnership and being particularly attuned to the varying demands of the music.

This was an almost overwhelming recital, stuffed with delectable goodies. We always enjoy discovering new music and new artists. We are feeling grateful to the German Forum for providing this experience.

(c) meche kroop

BABETTE'S FEAST

Sebastian Lambertz, Babette Hierholzer, Eva-Maria Summerer, Laure Barras

We feasted on music last night when the German Forum presented a most satisfying recital at the Library for Performing Arts. (We also feasted on hors d'oeuvres and libations but we won't go there!)

With the illustrious pianist Babette Hierholzer (Artistic Director of the German Forum) accompanying two superb singers and the welcome contributions of clarinetist Sebastian Lambertz, nothing was wanting in this celebration of German music.  The goal of the German Forum is to present outstanding young artists from the German-speaking world and, judging by the past couple recitals we've reviewed, they achieve this goal admirably.

President Henry Meyer-Oertel welcomed the audience and introduced the sponsors and notables in the audience as well as the young artists, and did so with grace and good humor which put everyone in the mood to have a good time. And so we did.

Swiss soprano Laure Barras opened the program with "Mein Herr Marquis" (otherwise known as Adele's "laughing song") from Johann Strauss' operetta Die Fledermaus. We have reviewed this very same aria twice already this week but let us say we heard it afresh from Ms. Barras.

What distinguishes her is not only the brightness and clarity of her voice but her total immersion in the character and the originality of her interpretation.  Her Adele was considerably inebriated but that did not result in careless diction.  Au contraire, every word was clear and, if you understood German, it was hilarious. And if you didn't understand the words, you could not fail to appreciate the facial expressions and gestures. The fioritura was as clear as champagne and just as bubbly.

And then along came dusky-voiced mezzo soprano Eva-Maria Summerer singing Prince Orlofsky's aria "Ich lade gern mir Gäaste ein" which we have always called "Chacun à son goût". If the entire recital had been from Die Fledermaus we would have not complained.  How delightful!

Clarinetist Sebastian Lambertz is performing his graduation recital from Mannes College on 12/4 and, in light of his enormous talent and onstage poise, we found it hard to believe that he is a student. He joined Ms. Hierholzer and Ms. Barras for the lyrical Schubert lied "Der Hirt auf dem Felsen", in which the clarinet echoes the voice. His lyricism was sustained throughout the register with dynamics under perfect control and some ear-tickling trills.

Dare we suggest that Ms. Barras' Swiss background gave her the edge in yodeling? Indeed, the way Schubert wrote it and the three artists performed it, one could easily visualize the lonely shepherd pining for his love in a distant inaccessible valley, with only the echo of the clarinet to keep him company.  Just listen to the joyous major key when he realizes that Spring is coming and the snow will melt and he will see his sweetheart once again. The increase in tempo translated into great excitement.

Mr. Lambertz had his solo moment at the end of the program when he switched to his A clarinet, performing Francis Poulenc's Sonata for clarinet and piano. He has a terrific technique and a most expressive lyricism. As one might have predicted, we favored the second movement "Romanza" in which one of the motifs reminded us of Prokofiev's music for the ballet--Romeo and Juliet. The final movement could only be described as frisky.

We felt fortunate to hear some duets, which we always enjoy. Yes, we heard "Abendsegen" from Engelbert Humperdinck's Hansel und Gretel just a few days ago, but hearing it in perfect German was a special treat. We also enjoyed the scene of the presentation of the silver rose by young Octavian to Sophie, his cousin's intended bride. Richard Strauss' Der Rosenkavalier has some gorgeous orchestral colors which Ms. Hierholzer captured in the piano. There is nothing as satisfying as two voices in harmony!

There were two humorous folksongs which Ms. Barras introduced with a most charming manner. We would wager that she has had quite a bit of dramatic training since she so effectively inhabits the character of the text--first the ambivalent Babette (!) from Haydn's "Eine sehr gewöhnliche Geschichte" and the pubescent girl of Brahms "Och Moder, ich well en Ding han". We are not sure what dialect of German that was but both songs were rendered with great humor.

Ms. Summerer also had her chance to sing with clarinet in Brahms' Zwei Gesänge op. 91, originally written for voice and viola. Her voice has a firmness and breadth in the lower register that is quite appealing.

We had only one minor quibble and we have been quibbling about this for quite some time. We would hope that singers would memorize their arias and not use music stands. The singers made much more of an impression when they sang "off book".

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OUR WINDMILLS HAVE BEEN TILTED

Babette Hierholzer, Robert Osborne, Lydia Ciaputa, and Conor Chinitz

We were trying to figure out why we were lately hearing so much music related to the character of Don Quixote and learned that this is the 400th anniversary of the publication of Part II of Miguel Cervantes' masterpiece. This figure has inspired choreographers and composers since the work was published. Obviously the word "quixotic" came from the eponymous character.

Last night in the grand hall of The Hispanic Society, against a backdrop of centuries of Spanish art, bass-baritone Robert Osborne brought this character to musical life in an involving and ultimately moving program which he conceived and created--a program entitled Don Quixote in Music.

The first part of the program was devoted to the 1712 cantata by Jean-Baptiste Morin entitled Dom Quixotte which Mr. Osborne sang in French, so clearly enunciated that we understood every word. Accompanied by violinist Judson Griffin playing an instrument as old as the Cervantes' work (!), cellist David Bakamjian, and harpsichordist Alexandra Snyder Dunbar, his rich voice was well employed in the descriptive recitativi, 

The arias, on the other hand, seemed to be the very words spoken by Don Q. Following a lovely theme in the violin, the section "Mort de Dom Quixotte" seemed to be in march tempo. The sad effects were achieved by color without a trace of sentimentality.

The second half of the program was more dramatic as Mr. Osborne was assisted into some very authentic appearing armor and cape by Sancho Panza, portrayed by Conor Chinitz. When he donned the helmet and picked up the halberd, he looked astonishingly like Don Q. himself. With his sharply chiseled features he cut a fine figure.

Alternating works by several composers, both vocal and instrumental, followed a line from the hero's departure through to his death. Interestingly none of the works were written in Spanish although some Spanish composers have composed such works.

We greatly enjoyed the early 20th c. songs by Jacques Ibert, particularly the "Chanson du départ" which had a distinctly Spanish flavor, as did his lovely "Chanson à Dulcinée".

Maurice Ravel's "Chanson à boire" lent a note of comic relief.  It's a rowdy song we never tire of hearing and it was fun seeing our hero passing out on the floor.  In contrast, Mr. Osborne delivered the moving and spiritual "Chanson épique" on his knees in prayerful pose.

Selections from Jules Massenet's late opera, the 1910 Don Quichotte, a comédie-héroïque, included the "Sérénade de Don Quichotte" in which accompanying pianist Babette Hierholzer effectively brought out the octave tremoli. The final scene of his death was most effectively rendered in "Écoute, mon ami, je me sens bien malade". Although she appeared only briefly as Dulcinée, singing from the balcony above, soprano Lydia Ciaputa sounded ethereal while Conor Chinitz sounded earthy as Sancho Panza.

The only music that didn't seem to advance the plot much was that composed by the 11-year-old Erich Wolfgang Korngold. There was nothing about these instrumental pieces that seemed related to the story but they did give evidence of the success that lay down the road and, more importantly, let us enjoy the fine playing of Ms. Hierholzer.

This was the second time this week that we have enjoyed a work created to tell a story, using a pastiche of music.(See review entitled Discovering Mrs. Rossini.). It is a marvelous genre, one which we thoroughly enjoyed and hope to hear more of.

As we exited the gorgeous Hispanic Society building we smiled at the statue of our hero casting a shadow on the wall

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GERMAN FORUM

Babette Hierholzer, Elizabeth Wimmer and Nils Neubert

Kim Smith

Two major musical events on one snowy Wednesday night!  Only in New York.  Finding out that the two very different events were related tickled us no end.

We began the evening with a recital presented by the German Forum, a worthy foundation which had strangely escaped our attention.  Their goals are consonant with ours and we were delighted to have "discovered" them.  Their mission is to introduce emerging European artists--both vocal and instrumental--to the New York audience.  What is unique about the German Forum is that vocal and instrumental repertoire are presented on the same program and also that expert speakers are chosen to introduce the programs and to provide interesting insights into the compositions.

Among this group of speakers we recognized several of our favorite people:  Ira Siff, Margaret Juntwait, Ken Benson and August Ventura.  Among the artists presented over the last ten years were Nathalie Mittelbach, Michael Kelly, and (drum roll please) cabaret artist Kim Smith whom we had scheduled to review later that evening!  Only in New York!!!!

The German Forum recital, a musical tribute to Alma Mahler's famous composer friends, was introduced by Donna Drewes, Associate Professor of the Humanities at New York University.  She is an excellent speaker and spoke of Alma Mahler's role as muse.  Her life touched the lives of many composers of the early 20th c. and she herself, taught by Alexander von Zemlinsky, composed a wealth of lieder until husband number one, Gustav Mahler, insisted she stop.  Many fascinating details of her rather racy life were touched upon before the music began.

Songs by conductor Bruno Walter (who knew!), Alban Berg, Gustav Mahler, Joseph Marx, Alexander von Zemlinsky, Leonard Bernstein, and Alma Mahler herself were sung by soprano Elizabeth Wimmer, whom we were delighted to hear for the first time, and tenor Nils Neubert whom we have reviewed at least thrice in the past two years. Hearing lieder sung by native German speakers was a special treat.

Ms. Wimmer has a lovely bright soprano with some beautifully floated top notes and a lot of skill as a storyteller. She can decrescendo to a delicate pianissimo and effectively handled the high tessitura in the Korngold.  But what we enjoyed the most was her storytelling in Gustav Mahler's songs from Des Knaben Wunderhorn. We are very fond of melody and have been humming the charming "Rheinlegendchen" all night.

Mr. Neubert has not lost the sweet freshness of his voice that we previously so admired.  His performance of Mahler's "Ich atmet einen Linden Duft" touched us deeply, especially when he floated the high note.  His voice has an expressive tenderness with which he conveys subtle nuances.  We loved the repetitive phrase "Irmelin Rose" in the Zemlinsky lied of the same name.

The collaborative pianist was Artistic Director of the German Forum Babette Hierholzer. We always appreciate a pianist who supports the singers without overwhelming them. The piano parts in the Post-Romantic period are quite different from those of the 19th c. and are often compelling in their own right.  We have remarked on this recently on the occasion of hearing lieder by Joseph Marx and noticed the same effect on all of the composers heard last night.

We would like to mention the fine work of the Lysander Piano Trio comprising Itamar Zorman violinist, Michael Katz cellist, and Liza Stepanova pianist.  We heard them in various combinations, as well as violist Edward Klorman who was so expressive in Marx's "Durch Einsamkeiten" along with Mr. Neubert.

Mr. Katz was eloquent in Zemlinsky's "Lied" and rhythmically on point in the rowdy "Tarantell".  Mr. Zorman impressed with his performance of Fritz Kreisler's "Liebesleid" accompanied by Ms. Stepanova; the waltz was performed with delicious rubato.  Ms. Hierholzer and Ms. Stepanova performed a few pieces from Arnold Schoenberg's youth--Six Pieces for piano 4 hand, of which our favorite was the third--quite melodic with an interesting texture.  Hearing it made us regret his so-called "advance" into atonality.

The Scherzo from Strauss' Piano Quartet in C minor op. 13 was given a spirited performance; the short motivic phrases bookended a lovely lyrical central section. Ms. Wimmer and Mr. Neubert closed the program with a duet from Bernstein's West Side Story.  Mr. Neubert bears no trace of accent in English but Ms. Wimmer sang with a very slight and very charming accent that served to affirm that Maria and Tony came from two different cultures.

As yet unaware that our favorite cabaret artist Kim Smith was one of the artists presented in the past by the German Forum, we hustled down to the far western reaches of Manhattan to the McKittrick Hotel for a late night set.  As an opera lover, we most enjoyed his very personal delivery of Kurt Weill's "Pirate Jenny" from the Three Penny Opera.  Marc Blitzstein penned the English lyrics.  Gershwin's "Summertime" from Porgy and Bess was given a unique performance as only Mr. Smith could devise.  He is always compelling to see and to hear.  We have enjoyed him more in a theatrical environment without all the rowdy drinkers one gets in a bar. He is an artist who deserves one's full attention.

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