TO THE SEA

 Nathan Romporti, Shiyu Zhuo, Anna Maria Vacca, Will Kim, and Luis Villarreal

We always look forward to the novel evenings of art song curated by Artistic Director of New York Festival of Song Steven Blier, who shares pianistic duties with Bénédicte Jourdois and Luis Villareal. Last night's theme was songs of the sea. We mention the pianists first because for the first half of last night's program at Merkin Hall, our attention was focused mainly on the accompaniment. This left us wondering. Did the Scandinavian composers write better for the piano than they did for the voice? Were the Scandinavian and Russian languages a bit of a stretch for the four singers?

In Rachmaninoff's "The Storm" we were captivated by Ms. Jourdois' passionate evocation of the turbulent storm, and in Tchaikovsky's "In the Garden" we were introduced to the fine musicianship of Mr. Villarreal who painted the verses in many colors.

Among the selection of songs in German, we greatly preferred the Brahms--"Die Meere", the melody and harmonies of which reminded us of Liebeslieder Walzer. Tenor Nathan Romporti and baritone Will Kim harmonized beautifully whilst Mr. Blier accompanied. Schubert has written so many songs about the sea and arguably "Auf dem See" may not be the best of them, but Mr. Blier is fond of introducing his audience to lesser known works.

Moving on to the Spanish language, Mr. Blier accompanied mezzo-soprano Anna Maria Vacca in the lovely "Mañanita de San Juan"  (from Jesus Guridi's Seis canciones castellanas)  with gentle dreamy figures in the piano. 

Mr. Romporti's tenor was particularly well suited to Reynaldo Hahn's "La barcheta" with its lovely melody and lulling barcarolle rhythm. And at this point in the concert, we realized what had been missing. We had been missing dramatic interpretation! Storytelling! Stock gestures bore us silly but when the body language interprets the text we feel involved. This Hahn song is very romantic and we felt it.

Pauline Viardot's "Havanaise" was given a winning performance by soprano Shiyu Zhuo, accompanied by Mr. Blier. This is a spirited strophic piece with increasing variety from one rendition of the simple folksy text to the next. The embellishments put Viardot firmly in the bel canto camp and Ms.Zuo rose to the occasion with stunning technique.

Adding to our delight was a performance of a duet from Pablo Sorozábal's zarzuela "La tabernera del Puerto"  by Ms. Zhuo and Mr. Romporti. The duet told a charming story of an importunate suitor and a rejecting woman. The two artists did a fine job of bringing the scene to life.

Three late-life songs by Rossini brought the evening to a delightful close.  We felt a bit disoriented listening to "La regatta veneziana", a duet charmingly sung by Ms. Zhuo and Ms. Vacca. We are familiar with a three-song cycle by Rossini with the same title but the melody was different and the gondolier being cheered on was not Momolo but Tonio!  And it was sung in Italian, not Venetian dialect. It took some investigation but we got ourself straightened out. 

This song was a setting of text by Conte Carlo Pepoli and used a more bel canto style than the later folksy tripartite cycle. Conte Pepoli was a Bolognese aristocrat and poet who wrote the libretto for Bellini's I puritani. (If you have seen that opera, you may have decided that he was a better poet than librettist.) Like Verdi, Pepoli was active in the Italian nationalist movement. Rossini's cycle in Venetian dialect came later. We consider ourself enlightened and have decided that there is room in our heart for both!

As usual, the audience demanded an encore and our four excellent singers delivered with a fine arrangement of "Moon River", written in 1962 by Henry Mancini with lyrics by Johnny Mercer. Audrey Hepburn sang it in the film Breakfast at Tiffany's. Here's a fun fact Dear Reader. The studio wanted to cut the song but Ms. Hepburn fought to have it left in.  For complete transparency, although we write every phrase by ourself, we are not above consulting AI for fun facts like the aforementioned!

© meche kroop

HUMMing ALONG

Benedicte Jourdois and Äneas Humm

It was a little over three years ago that we first heard the then-20-year-old Swiss baritone Äneas Humm. He was already famous in Europe and was invited here by the German Forum who presented him in recital. We were astonished to hear someone so young and so gifted.

Yesterday Mr. Humm completed three years of study with Edith Wiens at Juilliard, earning his Master of Music degree. He arrived as a finely cut gem and Juilliard provided the polish. His voice has expanded in the lower register and rounded out in the midrange.

Most Swiss are adept with several languages and Mr. Humm is no exception. Although German is the one spoken in his hometown Zürich, he sounds terrific in French as well. But he also sang in Hungarian!

Our initial hearing of Mr. Humm involved some Grieg and introduced us to the songs of the prolific  early 20th c. composer Othmar Schoeck who happily avoided atonality and wrote some lovely songs. Both would appear on yesterday's program.

The program opened with Cantata#4 De Profundis by the 17th c. composer Nicolaus Bruhns, composed and sung in Latin. He was accompanied by Caitlyn Koester's harpsichord, violinists Chiara Stauffer and Naomi Dumas, and cellist Madleine Renée Bouïssou. The lowlying tessitura seemed not to daunt Mr. Humm, nor did the alternation of legato and staccato. We particularly enjoyed the melismatic singing which took on the character of a vocalise.

Mr. Humm's attention to dynamics and appropriate gesture marked the entire program. There was a set of three songs by Edvard Grieg from Op. 48, our favorite of which was the familiar and charming "Lauf der Welt" which was perfectly suited to Mr. Humm's personality. Otherwise we heard a finely rendered crescendo .

The Schoeck songs were deeply felt and beautifully played by collaborative pianist Benedicte Jourdois, whose playing has always given us great pleasure. She seems to breathe with the singer, providing a perfect partnership. In the Fauré songs which followed, Mr. Humm was nominally "on the book" which seemed unnecessary to us since he knew the material. This generally leads us to focus more on the piano and we were rewarded with some gorgeous arpeggi in "En Sourdine".

Four short folksongs by Bartok would have been enjoyed more had their been translations.

The recital closed with Schubert songs, at which Mr. Humm excels. We loved Ms. Jourdois' rhythmic accompaniment in "Der Wanderer an den Mond" and the rocking accompaniment to "Der Jüngling an der Quelle". "Im Abendrot" came across as a devotional prayer and we simply swooned. Ms. Jourdois' slow chords enhanced the exquisite effect of Mr. Humm's tender pianissimo singing.

There was an encore, to our delight--Schubert's "Wanderers Nachtlied". Since travel is in Mr. Humm's immediate future, we can understand his choices! He is heading for the Weimar Opernhaus where he will perform a variety of roles. The one we would most like to see is his Papageno which will give plenty of leeway for him to express his engaging personality as well as his fine voice.

We hope he will return before too long!

(c) meche kroop

ST. PETER AND THE PEARLY GATES

Benedicte Jourdois and Michael St. Peter

Yes indeed! From the opening note of yesterday's recital at Manhattan School of Music, we were convinced that we had died and gone, surprisingly, to heaven.  A great recital will do that for us!

Tenor Michael St. Peter, now achieving his masters degree, has been on our radar screen for at least three years and we have reviewed his performances in both lieder and opera (all reviews archived and searchable). It is a rare artist who can perform equally well in both genres. It is our greatest pleasure to watch a young artist grow in stature and we have a very good track record at picking out those destined for stardom. He is one of them.

Singing is, of course, a highly competitive field; a beautiful instrument employed with artistry is almost enough but not quite. In the genre of lieder singing, there is another ingredient that is priceless to possess and heaven to behold--the ability to translate the feeling tone of the poet and of the composer such that the audience feels it as well. The singer and collaborative pianist (in this case the phenomenally gifted Benedicte Jourdois) take us on an emotional journey. They are our guides in an emotional landscape.

Mr. St. Peter and Ms. Jourdois opened the program with an unparalleled performance of Ludwig van Beethoven's An die ferne Geliebte. As Mr. St. Peter informed us, this was the first song cycle written by a major composer and was completed in 1816. The subject of the cycle is sehnsucht, best translated as "longing". The text was written by Alois Jeitteles and prefigures German Romanticism and all the lovely songs by Schubert and Schumann that we so adore.

The poet is separated from his beloved for unknown reasons. Even when Spring arrives, they will not see one another, so it isn't Alpine snow that keeps them apart. We look for hints in the gorgeous melody and the classical harmonies but Jeitteles ain't tellin'. Perhaps the text is just symbolic of the unattainable.

Mr. St. Peter and Ms. Jourdois brought out every nuance of Beethoven's writing and the major/minor shifts were sensitively handled. We noted Mr. St. Peter's unforced tenor and perfect German on prior occasions. Every word was clear. He knew exactly what he was singing about and captured our rapt attention from the very first note. The mood was sustained throughout the interlude between songs. To say we were enraptured would be an understatement.

The succeeding Quatre Mélodies, Op.8 by Ernest Chausson were lovely gems of bittersweet nostalgia. The French diction was flawless and the long even lines were exactly what was missing in some French singing we reviewed a couple days ago. We observed a somewhat wider vibrato than we heard in the Beethoven which seemed just right for sad remembrances of lost love.

We were enchanted by the four songs selected from the cycle Venezia by Reynaldo Hahn which Mr. St. Peter performed in Venetian dialect. Of course the gondola makes its appearance in "La Barcheta" and the vocalise section was transporting. Mr. St. Peter pointed out that the work was premiered on a gondola in Venice with a piano and with Mr. Hahn himself. In "Che  pecà" the poet laments the loss of drama and passion in his love.  All this was conveyed with consummate musicianship and an effective partnership between the two artists.

We are quite sure that the three songs by Charles Tomlinson Griffes, setting of poems by Fiona Macleod, were just as artistically performed but we prefer our songs in any language but English.

The encore, Charlie Chaplin's "Smile" (though your heart is aching) was beautifully sung but we were so happy with the recital that an aching heart was the furthest condition from our reality! We are still basking in the joy we experienced and want to hold onto this feeling for as long as possible.

(c) meche kroop

A YOUNG ARTIST LAUNCHED

Philip Stoddard

Benedicte Jourdois

Baritone Philip Stoddard launched his graduation recital at Juilliard with Pietro Cimara's  1919 "Canto di Privavera"; a better opening could not be imagined, not only because of its seasonal suitability but because it showcased everything at which this young artist excels.  He has an eagerness to connect with his audience and to share his love of singing which makes everyone in the audience feel included.  He uses his voice well but also employs facial expression and body movement to convey the meaning of the text.  His Italian diction was so clear that the absence of translation was forgotten.  "Open your windows to the sun and your heart to love!"  YES!!!  We will!

 He continued his program of early 20th songs with selections from Ravel's Histoires naturelles.  With great onstage ease, Mr. Stoddard introduced them to the audience so that the uninitiated might listen for the characteristics of each animal in the piano preludes, which collaborative pianist Benedicte Jourdois played so well.  We heard the narcissistic peacock and the industrious cricket, the graceful swan and the striking Kingfisher; but it was the aggressive and scurrying guinea hen that we enjoyed the most.  We wished however that Mr. Stoddard's diction in French matched his superlative diction in Italian.  

We caannot comment on his diction in Russian since that is the one language we do not speak. We can say that it brought his sound forward to a really good place, was well enunciated and sounded musical.  We have been hearing lots of Rachmaninoff lately and have noticed that often the passionate piano parts overwhelm the singer; we were pleased to note here that Ms. Jourdois felt no need to do so and enjoyed the mutuality between singer and pianist.  The sound was lovely and we did wish that we understood Russian.  It was not difficult, however, to decipher the 1902 "Fate", our personal  favorite which Mr. Stoddard performed with great commitment.  Apparently Rachmaninoff was  paying tribute to Beethoven's Fifth Symphony.

Amongst the American songs, we particularly enjoyed Bolcom's "Murray the furrier" which allowed Mr. Stoddard's personality to shine.  Selections from Mahler's Rückert Lieder followed with every emotional nuance given its due.  We loved the pianissimo given to the the word "frbeen hearing lots of Rachmaninoff lately and have noticed that often the passionate piano parts overwhelm the singer; we were pleased to note here that Ms. Jourdois felt no need to do so and enjoyed the mutuality between singer and pianist.  The sound was lovely and we did wish that we understood Russian.  It was not difficult, however, to decipher the 1902 "Fate", our personal  favorite which Mr. Stoddard performed with great commitment.  Apparently Rachmaninoff was  paying tribute to Beethoven's Fifth Symphony.

Amongst the American songs, we particularly enjoyed Bolcom's "Murray the furrier" which allowed Mr. Stoddard's personality to shine.  Selections from Mahler's Rückert Lieder followed with every emotional nuance given its due.  We loved the pianissimo given to the the word "frühling" in "Liebst du um Schönheit"; it was one of those special moments.

As encore, Mr. Stoddard sang "A simple song" from Bernstein's Mass.  We have not said anything yet about his voice; it is a fine instrument but it is the singer's artistry and musicality that gained our attention.  Still in the earliest stage of his career, we trust it will be launched with the same success as the opening of this recital.  We are looking forward to hearing more from this promising young artistartist.artist                                                                                                        © mec

As encore, Mr. Stoddard sang "A simple soPhilip Stoddard
Benedicte Jourdois

Baritone Philip Stoddard launched his graduation recital at Juilliard with Pietro Cimara's  1919 "Canto di Privavera"; a better opening could not be imagined, not only because of its seasonal suitability but because it showcased everything at which this young artist excels.  He has an eagerness to connect with his audience and to share his love of singing which makes everyone in the audience feel included.  He uses his voice well but also employs facial expression and body movement to convey the meaning of the text.  His Italian diction was so clear that the absence of translation was forgotten.  "Open your windows to the sun and your heart to love!"  YES!!!  We will!

 He continued his program of early 20th songs with selections from Ravel's Histoires naturelles.  With great onstage ease, Mr. Stoddard introduced them to the audience so that the uninitiated might listen for the characteristics of each animal in the piano preludes, which collaborative pianist Benedicte Jourdois played so well.  We heard the narcissistic peacock and the industrious cricket, the graceful swan and the striking Kingfisher; but it was the aggressive and scurrying guinea hen that we enjoyed the most.  We wished however that Mr. Stoddard's diction in French matched his superlative diction in Italian. 


We caannot comment on his diction in Russian since that is the one language we do not speak. We can say that it brought his sound forward to a really good place, was well enunciated and sounded musical.  We have been hearing lots of Rachmaninoff lately and have noticed that often the passionate piano parts overwhelm the singer; we were pleased to note here that Ms. Jourdois felt no need to do so and enjoyed the mutuality between singer and pianist.  The sound was lovely and we did wish that we understood Russian.  It was not difficult, however, to decipher the 1902 "Fate", our personal  favorite which Mr. Stoddard performed with great commitment.  Apparently Rachmaninoff was  paying tribute to Beethoven's Fifth Symphony.

Amongst the American songs, we particularly enjoyed Bolcom's "Murray the furrier" which allowed Mr. Stoddard's personality to shine.  Selections from Mahler's Rückert Lieder followed with every emotional nuance given its due.  We loved the pianissimo given to the the word "frbeen hearing lots of Rachmaninoff lately and have noticed that often the passionate piano parts overwhelm the singer; we were pleased to note here that Ms. Jourdois felt no need to do so and enjoyed the mutuality between singer and pianist.  The sound was lovely and we did wish that we understood Russian.  It was not difficult, however, to decipher the 1902 "Fate", our personal  favorite which Mr. Stoddard performed with great commitment.  Apparently Rachmaninoff was  paying tribute to Beethoven's Fifth Symphony.

Amongst the American songs, we particularly enjoyed Bolcom's "Murray the furrier" which allowed Mr. Stoddard's personality to shine.  Selections from Mahler's Rückert Lieder followed with every emotional nuance given its due.  We loved the pianissimo given to the the word "frühling" in "Liebst du um Schönheit"; it was one of those special moments.

As encore, Mr. Stoddard sang "A simple song" from Bernstein's Mass.  We have not said anything yet about his voice; it is a fine instrument but it is the singer's artistry and musicality that gained our attention.  Still in the earliest stage of his career, we trust it will be launched with the same success as the opening of this recital.  We are looking forward to hearing more from this promising young artistartist.artist ng" from Bernstein's Mass.  We have not said anything yet about his voice; it is a fine instrument but it is the singer's artistry and musicality that gained our attention.  Still in the earliest stage of his career, we trust it will be launched with the same success as the opening of this recital.  We are looking forward to hearing more from this promising young artist.artist                                                                                                        © meche kroop