WHERE THE GOOD SONGS GO

Mary Feminear reclining atop Joseph Eletto, Benjamin Lund, James Edgar Knight and Alex McKissick (photo by Michael DiVito)

Put together writer P. G. Wodehouse's witty words, composer Jerome Kern's elegant music , pianist and raconteur Steven Blier's narrative gems, and seven singers from Juilliard and what do you get?  Transatlantic champagne, that's what you get!  It was an effervescent New York Festival of Song evening at Juilliard's Peter Jay Sharp Theater-- "The Land Where the Good Songs Go" and the audience lapped it up like thirsty puppies.

Sopranos Mary Feminear and Raquel González were joined onstage by mezzo Hannah McDemott, tenors James Edgar Knight and Alex McKissick and baritones Joseph Eletto and Benjamin Lund.  What fun to hear these operatic voices try their wings at something new.  There is not only depth but breadth in Juilliard's Vocal Arts Program

The show was directed by Mary Birnbaum who, we surmise, was responsible for the clever choreography and hilarious hijinks onstage.  Hal Cazalet, great-grandson of Mr. Wodehouse, was onboard for coaching and Greg Utzig contributed some string sorcery by way of guitar, banjo, mandolin and ukulele.

Some solos were true standouts:  Mr. Eletto's "My Castle in the Air" from Miss Springtime, accompanied by some delicate filigree by Mr. Blier on the piano; Ms. Gonzalez' singing the original "Bill" from "Oh, Lady, Lady"  (this lighthearted version later altered and darkened by Oscar Hammerstein II for Showboat);  Mr. Knight's hilarious "Napoleon" from Have a Heart, and Mr. Lund's "The Land Where the Good Songs Go" from Oh Boy! and recycled for Miss 1917.

Our favorite duets were Ms. Feminear and Mr. Eletto's performance of "Tell Me All Your Troubles Cutie" from Miss 1917, "We're Crooks" from the same musical performed  by Mr. McKissick and Mr. Lund, and the humorous "You Never Knew About Me" from Oh Boy! performed by Ms. McDermott and Mr. Knight.

Mr. Wodehouse also wrote with Cole Porter and the ensemble performed their "You're the Top" from Anything Goes.  He also wrote with George Gershwin and as encore the ensemble performed "Oh Gee, Oh Joy" from Rosalie.

Mr. Wodehouse's fame as a writer of songs that have endured for nearly a century was eclipsed by his Bertie and Jeeves books.  What a gift Mr. Blier & Company have given us by resurrecting these gems.

© meche kroop

BREL DONE WELL

 

Maestro Steven Blier has the Midas touch; everything he touches turns to gold.  As Artistic Director of New York Festival of Song, as pianist and arranger, as performer and raconteur, he never fails to delight.  Last night's program at Merkin Hall was a case in point.  Few of us have paid attention to the music remembered from college days but Mr. Blier paid attention to the music of Jacques Brel and Charles Trénet from a half-century ago.  It is difficult to believe that this youthful wizard is celebrating 40 years of performing onstage.

To those in the audience who delighted in this music in their youth, the recital was a delicious exercise in nostalgia.  To those who were not familiar with these songs, it was a revelation.  Mr. Blier at the piano was joined by two singers, the charming and VERY French mezzo Marie Lenormand and Philippe Pierce, a tenor with matinée idol good looks.  To complete the party, there was accordionist Bill Schimmel and guitarist Greg Utzig who also played the banjo and an instrument resembling an electronic lute.

The program opened with Mr. Pierce singing Brel's "La Valse à Mille Temps".  Maestro Blier introduced each and every song with an interesting piece of information.  Apparently, Brel was quite a rebel and was not immediately accepted but eventually won adoration both in France and in the United States.  It is hard to imagine not being won over by this powerful song that grows in speed, emotion and dissonance until the singer becomes quite breathless.

The two singers were most enjoyable in "Les Paumés du Petit Matin" a duet about dissipated youth, trust fund kids who sleep all day and party all night.  (Plus ça change, plus c'est la même chose.)    For Ms. Lenormand's "Rosa", we learned the meaning of the cryptic words.  An amusing duet "Les Bourgeois" followed in which we saw an event from the point of view of some rude youths and some staid lawyers.  "Madeleine" is a sad tale of a man who waits every night for a woman who never shows up.  Many of the songs were sad and dealt with disappointed love.  Ms. Lenormand's "Ne Me Quitte Pas" revealed heartbreaking neediness.  The duet "Le Diable" in which the devil enjoys all the wars, bombs on train tracks, materialism and economic inequality.  It sounded rather contemporary, n'est-ce-pas?

The Trénet songs were rather more upbeat.  "J'ai Ta Main" had a swingy accompaniment but "Vous Qui Passez Sans Me Voir" revealed the songwriter's loneliness.  "J'ai Connu de Vous" had a jazzy score and "J'ai Mordu Dans le Fruit de la Vie" referenced Mr. Trénet's sly admission of homosexuality.  The familiarity of the melody in "La Mer" delighted the audience and "Grand-maman C'est New York" made everyone laugh.  Apparently, when one dies and goes to heaven one learns that heaven is...New York!  And indeed it is heaven when we have such wonderful music and such superb performers to bring it to life.

(c) meche kroop