MASTER AT THE PIANO

Matthew Pearce, Tamara Banješević, Katerina Burton, Shereen Pimentel, Courtenay Cleary,
and Cameron Richardson-Eames

Last night we attended Cameron Richardson-Eames' Master of Music recital at Juilliard and we were rewarded with a night of magnificent music making. We know Mr. Richardson-Eames mainly through his performances with students from the Vocal Arts Program and had never really considered that collaborative pianists play with other instrumentalists. We are happy to report that this one "plays well with others".

We thrilled to his performance of César Franck's Sonata for Violin and Piano in A Major; the violinist was the superlative Courtenay Cleary and did they ever make music together! The first movement, Allegretto ben moderato opened with some descending arpeggi of minor triads which soon yielded to a theme of descending scales. These two themes would reappear periodically knitting the work together with a feeling of unity and familiarity. The overall emotion was one of nostalgia.

The Allegro which followed opened with some rumbling in the piano, leading to a veritable storm of anxiety. There was an "eye" to this hurricane but the storm recurred with increased passion.

The third movement (Ben moderato) seemed reflective to us and we liked the liquid manner in which the arpeggi reappeared in the piano, whilst the violin was given some lovely trills.

The fourth movement reminded us of a vocal duet in which the piano and violin each had a different melody with both contributing to a whole that was greater than the sum of the parts. In no way do we consider ourself to be knowledgeable about piano technique but we know artistry when we hear it because we get "the feels".

The second half of the program was on more familiar territory for us since Mr. Richardson-Eames collaborated with four different singers, singing four different styles of song, readily demonstrating his adaptability.

Soprano Katerina Burton, just reviewed a few days ago for some lovely performances of Joseph Marx lieder, has a real feel for this composer and sang "Hat dich die Liebe berührt" and "Nocturne" in which the interludes of rippling in the piano tickled the ear. Ms. Burton's voice opened like an umbrella at the top giving us tons of overtones. We cannot wait to see how Juilliard will polish this particular gem.

Already polished and enjoying a fine career overseas, Tamara Banješević was on hand to perform a pair of songs by Henri Duparc. Chansons can get a bit effete but not these! We have missed hearing Ms. Banješević and found her presence last night to be a very pleasant surprise. "Chanson triste" sounded splendid with the two artists in lovely harmony, both of them expressive and making good use of dynamic variety. "L'invitation au voyage" was performed with almost indecent sensuality and we loved it!

Tenor Matthew Pearce performed two songs in English from the early 20th c. We didn't get much out of Herbert Howells' "The Goat Paths" with its simple vocal line which didn't stay with us, and its spare accompaniment. We preferred the rather silly "I have twelve oxen" by John Ireland, a strophic song that sounded like a folk song. The rhythm was fun and Mr. Pearce has a lovely high register achieved without pushing, and an admirable clarity of diction.

The program ended with soprano Shereen Pimentel singing two songs from Stephen Schwartz' 2003 Wicked--"The Wizard and I" and "I'm Not That Girl". We would far prefer to hear these songs than what passes for contemporary "art song". Ms. Pimentel has incredible stage presence and a lively personality best suited to songs that require dramatic intent. We once sat through Wicked on Broadway, with teeth clenched against the cruel amplification, unable to understand the words. Last night we heard the songs unamplified and could appreciate the artistry of the composition as well as the artistry of Ms. Pimentel's performance.

It was a perfect way to end the recital and we left completely satisfied. Mr. Richardson-Eames demonstrated his artistry and flexibility and is a credit to his teacher, the highly esteemed Brian Zeger.

(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

PUREum JOy

Bretton Brown and Pureum Jo

Right on the heels of yesterday's impressive recital comes yet another one.  Soprano Pureum Jo is getting her Masters of Music Degree from Juilliard and presented a recital that she wanted to be "fun".  And there was plenty of fun for both singer and audience.  But there was also some serious material on the program.  Both the fun stuff and the serious stuff were equally admirable.  Whatever she sings, Ms. Jo lives within the song; her background in opera carries over so that facial expression, vocal expression and body movement are all of a piece.

There was something very ardent about her performance of spiritual songs.  We have never been particularly fond of spirituals but Ms. Jo made two of Harry Burleigh's songs memorable, especially with the slow tempo and dynamic variety which she brought to "Deep River".  Cesar Franck's "Panis Angelicus" is always a treat, especially since it was accompanied by the fine cellist Sang Jun Yhee.  Luigi Luzzi's "Ave Maria"  is perhaps not heard as often as Schubert's setting but was very lovely to listen to, especially as Ms. Jo sang it.

After the spiritual songs came a set of fanciful songs about witches!  In Richard Strauss' "Junghexenlied", Ms. Jo conveyed an elfin quality; her wonderful collaborative pianist Bretton Brown gave his all to the very apt accompaniment.  Wolf's "Nixe Binsefuss" and the spirited "Hexenlied" followed, all sung with involvement, meaning and excellent diction.

A pair of well-chosen love songs included the beloved "A Chloris" by Reynaldo Hahn, earnestly sung,  and a rather seductive "Je Te Veux" by Eric Satie which Ms. Jo invested with a cabaret style.

Two Rossini songs allowed Ms. Jo to demonstrate her fine bel canto technique with accurate and elaborate embellishments.  "Aragonese" was sung like an operatic aria complete with a stunning cadenza.  The frisky "La Danza" with its tongue twisting text was accompanied by Ms. Jo dancing in a variety of styles with a bunch of her classmates joining her onstage.  Now THAT was FUN!

In such a well designed and beautifully executed program, it is difficult to say which part was the best; but to our ears, Tchaikovsky's "Was I not a little blade of grass?" had a depth of feeling that broke our heart.  It is the metaphor-heavy lament of a young woman married off to an old man she does not love.  Ms. Jo's voice soared up into the stratosphere in a goose-bump-inducing finale.

As an encore, we heard Dvořak's "Song to the Moon" from Rusalka which Ms. Jo sang exquisitely.  We were fantasizing that Renée Fleming was there conducting a master class and that she said, "Ms. Jo, you nailed it.  I have nothing more to add."  Well, let us hope that we will soon hear Ms. Jo sing the role at the Metropolitan Opera.

Ⓒ meche kroop