GIVING SCHUMANN HIS DUE

Erika Switzer, Jazimina MacNeil, Michael Brofman, Michael Kelly, Tyler Duncan

1840 was a great year for Robert Schumann.  His legal battle with Friedrich Wieck  was won and he married his beloved Clara; he composed three impressive song cycles which were presented last night at Bargemusic by the Brooklyn Art Song Society which is also having a great year, garnering praise from the press for its thoughtful programs.  In spite of the rain, wind, flooding and subway delays, the floating barge was filled with lovers of lieder who maintained exquisite silence the better to hear three gifted interpreters give their all.

The program opened with Tyler Duncan who performed the nine songs of Liederkreis von Heinrich Heine, Opus 24.  Along with collaborative pianist Erika Switzer, he conveyed the many moods in a most pleasing baritone.  The songs are about love--the anticipation, the sorrows, the bitterness of disappointment; Mr. Duncan did well conveying the passionate anger in the penultimate verse of "Schöne Wiege meiner Leiden", the bitterness of "Warte, warte, wilder Schiffman" and the gentleness of the final song "Berg' und Burgen schaun herunter".  The final verse of the latter draws a comparison between the lover and a river that conceals darkness and death in its depth--a painful ending to be sure.  Ms. Switzer matched his skill continually and beautifully conveyed the pounding of the poet's heart in "Lieb' Liebchen, leg's Hänchen".

Mezzo-soprano Jazimina MacNeil did equal justice to Liederkreis von Joseph Freiherr von Eichendorff, Opus 39.  From the first phrase of "In der Fremde", one could sense her total immersion in the text with its profound feeling of alienation.  A quick change to bliss followed in "Intermezzo".  Our personal favorite was "Waldesgesprächt" which permitted Ms. MacNeil to change colors from the seductiveness of the man and the revenge of the witch Loreley.  We also loved the joy of "Die Stille" and the gentle expansiveness of "Mondnacht".  There was not a single false note in the emotional content.

Ms. Switzer also got to show her stuff especially in the different types of rustling.  In "Schöne Fremde", the treetops rustle and we heard a different sort of rustling of the brooklet in "In der Fremde".  Hunting horns could be heard in "Im Walde" and the excitement of triumph was heard as the cycle ends with the poet claiming his beloved.  There was one heart-stopping moment of the cycle in "Auf einer Burg" which limns the stone statue with ponderous chords, evokes a wedding party then in one line mentions that the bride is weeping.  One is left with unresolved feelings as the music never quite resolves.  Piano and voice just seem to hang there suspended.

The final cycle of this generous program comprised baritone Michael Kelly's performance of Dichterliebe, Op. 48, setting of texts by Heinrich Heine.  From the very first phrase we recognized the voice of an artist.  His light baritone has a beautiful tenorial quality and was employed with a depth of expression that left us hanging on every word.  Mr. Kelly somehow manages to caress each word as if he could taste it; and therefore we do as well.  The excitement of "Die Rose, die Lilie, die Taube, die Sonne" was palpable.  The ponderousness of the cathedral in Köln could be felt as well as the tenderness toward the Virgin Mary.  The false gaiety and irony of "Ein Jüngling liebt ein Mädchen" could not be missed, nor the hyperbole of the burial of the angry old songs in a huge coffin in the final song "Die alten, bösen Lieder".

Mr. Kelly's totally fulfilling performance involved Michael Brofman, the Founder and Director of the Brooklyn Art Song Society, as collaborative pianist, a role in which he too shines brightly.  We particularly liked his work in "Ich will meine Seele tauchen" and his fleet fingering in "Und wüssten's die Blumen"; he brought out the lyricism of the memorable melody of "Das ist ein Flöten und Geigen" that we cannot get out of our head.  The two artists make a fine pair!

What a wonderful programming feat it was to assemble three magnificent song cycles and three magnificent singers to share them with the audience!  As long as Mr. Brofman and BASS are around we do not have to worry about the future of art songs in the USA.  Long may they thrive!

© meche kroop

KEN NODA FILLS OUR EASTER BASKET

Ken Noda

The collaborative piano work at Schubert&Co. has left nothing to be desired; Artistic Directors Jonathan Ware and Lachlan Glen are equally superb.  Still, to have the illustrious Ken Noda to come and play with tenor Alexander Lewis is another feather in the Schubert&Co. cap.  Mr. Lewis hails from Down Under but his singing is strictly Tip Top; his musical theater background served him well in the set of songs in which a very young Schubert availed himself of the poetry of Ludwig Christoph Heinrich Hölty.

Mr. Lewis interpreted the songs with as much nuance as Mr. Noda did at the piano, emphasizing every subtlety.  We enjoyed the seasonal contrast between "Winterlied" and "Frühlingslied" but we especially loved "Die Mainacht" and would love to hear Schubert's setting on the same program as Brahms'.  In "Die frühe Liebe" the humor was conveyed with Mr. Lewis' entire body.  Fortuately, the songs had been committed to memory and there was no music stand interposed between his intense performance and the appreciation of the audience.

The remainder of the program was superb in different ways.  Mezzo Jazimina Macneil's warm and richly round voice plus astute word coloring  were well used in the opening set, settings of poetry by Aloys Wilhelm Schreiber, Josef Ludwig Stoll and Johann Ladislaus Pyrker.  Mr. Ware's soft touch in the piano gave way to some powerful playing that emphasized the mystery and awe of Pyrker's "Die Allmacht".  That was some fine teamwork!

Soprano Simone Easthope has a brilliant sound that resonates to the farthest reaches of Central Presbyterian Church, where most of these Schubert@Co. recitals are held.  Mr. Glen's piano and her voice melded to perfection in two of our favorite Rückert lieder "Du bist die Ruh" and "Sei mir gegrüsst".  Familiarity tends to please the ear and we were contemplating how much more we would appreciate a second and third hearing of some of the less well known lieder we have been hearing all year at these thrilling recitals.

And finally let us commend the outstanding baritone Michael Kelly who was also accompanied by Mr. Ware.  Two lovely Schreiber songs, the romantic "Der Blumenbrief" and "Das Marienbild" were followed by the familiar "Lachen und Weinen" with its poignant major-minor shifts and the unbearably mournful "Das ich hier gewesen" with its descending scale motif.  One could write an entire paragraph on what Mr. Kelly did with the word "verlangen" in Rückert's "Greisengesang".

Once again Schubert&Co has provided us lieder lovers with a cause to rejoice.  Our Easter basket has been filled to overflowing.

© meche kroop

 

SCHUBERT TRUMPS THE SUPER BOWL

Schubert@Co. has reached the approximate midpoint of their perusal of Franz Schubert's output of 600 plus songs without any evidence of flagging enthusiasm and with ever increasing quality of talent.  Artistic directors and collaborative pianists Jonathan Ware and Lachlan Glen seem to have no difficulty assembling as talented a group of young Schubert interpreters as one could wish for and have arranged some rather stellar evenings for us Schubert lovers to enjoy.

Last night's recital was a case in point.  Settings of poetry by Johann Gabriel Seidl, Franz von Schober, Johann Gaudenz von Salis-Seewis, Friedrich Schiller and Wilhelm Müller/Helmina von Chezy were presented to the lieder lovers who eschewed the Super Bowl in favor of ART.  Lovely soprano Pureum Jo opened the program with a pair of settings of poetry by Seidl and another pair with poetry by Schober.  Ms. Jo always delivers deeply felt interpretations with eloquent phrasing, ear-pleasing resonance and some crystalline top notes.  Mr. Glen contributed some outstanding pianism that matched the profound mood changes from joyful to troubled.  Schober's "Vergissmeinnicht" is a charming song with changes of key and mode about a young girl's awakening to womanhood.  Mr. Glen captured it all and we loved it.

Mezzo Jazimina Macneil must have profited greatly by her summer at the Franz Schubert Institut since she showed a fine Schubertian style and a true mezzo sound in more songs by Schober and Seidl.  Some of the songs were incredibly sad but "Die Männer sind méchant" is a somewhat more lighthearted look at a different type of female awakening--that of awakening to the realization that men are unfaithful.  Mr. Ware excelled at capturing the rhythmic tread of the wanderer in "Der Wanderer an den Mond".

Tenor Cullen Gandy, in an unusual artistic decision, sang the deliciously ironic song of a young woman who keeps telling her lover all the things they will enjoy together but that she cannot love him because her mother warned her about love.  His pleasant tenor lands softly on the ear.  We are looking forward to hearing him in Santa Fe this coming summer where he will be an Apprentice Artist, a wonderful springboard for his career.

Tenor Miles Mykkanen, who also attended the Franz Schubert Institut, continues to delight us with his performance-ready voice and style.  He always shows amazing insight into the material and brought to life some settings of poetry by Salis-Seewis that we might not have otherwise enjoyed.  Perhaps Schubert was fonder of Seidl and Schober?

Baritone Philip Stoddard, like Mr. Mykkanen still an undergraduate, shows talent beyond his years of age and years of training.  The colors of his voice were very manly and his delivery powerful in Schober's "Schiffers Scheidelied" and "Jägers Liebeslied".  As convincing was his delivery, we urge Mr. Stoddard not to contemplate giving up singing for hunting and fishing!  

Mezzo Tammy Coil seemed alone in her lack of involvement with the material and the audience.  Some singers are able to be involved even when singing from the book but in this case we were somewhat disappointed.  We would welcome the opportunity to hear her again when she is more familiar with the material.  Furthermore we missed hearing any mezzo quality in her voice.

The evening ended on a high note with a delightful performance of "Der Hirt auf dem Felsen", one of our personal favorites.  Soprano Lilla Heinrich-Szasz performed the strenuous yodel-like vocal line with consistency of tone throughout the register, opening to a beautiful top.  In this lied, the clarinet serves to echo the vocal line and Jonathan Cohen did so with fine phrasing.  Mr. Ware's piano supported both in grand style.  The final verse conveyed the listener past the loneliness and sorrow right into the joy of anticipated Spring, which we too shared on this cold winter night.

(c) meche kroop

THE SONG CONTINUES

Karen Vuong

Marilyn Horne

Ken Noda

                     
The Song Continues and Marilyn Horne will make sure of it!  Working tirelessly to pass along her knowledge to the younger generation, our beloved mezzo-soprano celebrates her birthday every year by hosting a festive week of recitals and master classes.  Last night, lieder lovers were gifted with a double-header--first a recital by soprano Karen Vuong and piano partner Ken Noda, then a master class taught by Ms. Horne herself.

Ms. Vuong is an engaging performer capable of involving the audience, no matter what she sings and Mr. Noda is the most modest of piano partners, always supportive of the singer.  Together they wowed the audience with a trio of chansons in French by Reynaldo Hahn, a quartet of lieder in German by Hugo Wolf, three songs in English by Samuel Barber, three in Russian by Rachmaninoff, and to close the program, four in German by Richard Strauss.  For the encore, Ms. Vuong repeated Hahn's "Sous l'oranger" as if written by a woman.  The tango rhythm and Ms. Vuong's flirtatious manner made for a compelling contrast.  Hahn's light-hearted delicate songs contrasted well with the serious and anxious nature of Wolf's Mignon songs. 

The passionate romanticism of the Rachmaninoff songs came through beautifully, but it was in the Strauss songs that Ms. Vuong's bright, clear and focused soprano was able to soar.  She was completely believable as the proud mother in "Muttertänderlei" and quite amusing in "Hat gesagt--bleibt's nicht dabei".  One tiny flaw needs to be addressed.  Ms. Vuong seems to hang onto the piano and to do most of the acting with her arms and face.  Should she let go and allow herself to use her entire body, the performance would be improved.

After an hour break, the master class began with some very kind and loving words by Ms. Horne.  Four young singers were coached in one song apiece, which made a lot more sense than skimming over two selections.  Mezzo-soprano Naomi O'Connell  did some fine work on Schumann's amusing "Die Kartenlegerin"; tenor J. Warren Mitchell opened up his huge voice with Liszt's "Pace non trovo"; Mezzo-soprano Jazimina MacNeil tackled Mahler's folksy "Rheinlegendchen"; soprano Lisa Williamson sang Joseph Haydn's "She never told her love".  It was thrilling to observe how Ms. Horne's coaching added a new dimension to each artist's performance.

More recitals and master classes await, with a gala concert Saturday night.  More we could not ask!

(c) meche kroop

SCHUBERT AND SCHILLER AND MORE

Schubert

Schiller

Schubert&Co continued their exploration of Schubert's prodigious song output (over 600!) in an evening devoted to Schubert's settings of Schiller's poetry.  How the two giants of the 19th c. complemented one another!  Schiller's poetry is dramatic and given to frequent classical references; it rhymes and it scans. The works are lengthy and nearly operatic in scope; the frequent changes of moods make demands on the singer and the pianist alike to sustain the interest of the listener.  We can't help wondering whether the indifferent vocal music being written today would be improved if the poetry were more meaningful.

The five singers who took this on were more than equal to the task.  Mezzo Jazimina MacNeil deftly handled the lighthearted  "Die vier Weltalter" as well as the horror-filled "Gruppe aus dem Tartarus".  Soprano Sarah Shafer did justice to the joyful "Elysium" and sang the part of Hector's wife Andromache in the sorrowful "Hektors Abschied" with tenor Nils Neubert singing the part of Hector.  Mr. Neubert was outstanding in the sad story "Ritter Toggenburg".  Mezzo Nathalie Mittelbach was exceptional in "Klage der Ceres", a mother's woeful lament for her deceased daughter; she has a substantial voice and one could recognize the pleading on the part of the piano, performed so movingly by Lachlan Glen.  More lamenting was heard when Ms. Shafer sang the poignant "Des Mädchens Klage" in her ear-tingling bright soprano.  The program ended with the long story "Die Bürgschaft" which had an uncharacteristic happy ending.  Baritone Tyler Duncan used his vocal and dramatic gifts to tell the story in a meaningful and moving way whilst piano partner Erika Switzer tackled the difficult scale passages and vigorous chords with aplomb.  It was a long evening in which our interest never flagged owing to the fine interpretive singing and pianism.

The following night of this Festival Weekend continued with three more talented singers undertaking the poetry of Karl Gottfried Ritter von Leitner, Pietro Antonio Domenico Trapassi (a.k.a. Metastasio) and James MacPherson (a.k.a. Ossian) as set by Schubert.  Soprano Pureum Jo was the perfect choice for the Metastasio and hearing Italian was an agreeable change.  We especially enjoyed "Didone abbandonata" in which one could appreciate the pingy resonance of her voice throughout a wide tonal range.  Mr. Glen's roiling piano was notable in "Son fra l'onde".

Baritone John Brancy has long impressed us with his warm and sizable voice and interpretive skills.  Last night he sang two songs by von Leitner, "Drang in die Ferne" and "Der Kreuzzug", which demonstrated his strength in the lower register; the German friend who accompanied us confirmed our confidence in Mr. Brancy's perfect German in which every word can be clearly understood.

Tenor Cullen Gandy invested von Leitner's "Der Wallensteiner Lanzknecht beim Trunk" with all the power required in a drinking song.  We were also able to enjoy him in Italian as he sang Metastasio's "Non t'accostar all'urna" to which we were delighted to be introduced, having only been familiar with the setting by Verdi.

If you have not yet attended one of Schubert&Co's recitals, you will have several more opportunities.  This is an amazing opportunity to discover works that have not yet been given their due.  We will be eternally grateful to Jonathan Ware and Lachlan Glen, Co-Artistic Directors, for this opportunity.

(c) meche kroop

SCHUBERT und SCHUBART

James Barbato

Jazimina MacNeil

Kelly Markgraf

Mary Feminear

Another splendid recital last night by Schubert&Co. gave four talented young singers an opportunity to show how Schubert tailored his music to fit the poetry he was setting.  The poets on this program comprised Johann Georg Jacobi, Friedrich von Hardenberg (otherwise known as "Novalis"), Christian Friedrich Daniel Schubart and Marianne van Willemer.  Most of the poetry appears to have been written in the latter half of the 18th c. or early 19th c.; favorite topics seems to be love, fulfilled or frustrated, and religious faith. 

Baritone Kelly Markgraf opened the program with songs of romantic love fulfilled--An Chloen and Hochzeitlied.  His fine large voice filled Central Presbyterian Church with resounding joy while his powerful stage presence lent credibility to the text.  It must be noted that Mr. Markgraf's German is superlative; we are always grateful when the singer is unafraid of the final "ch" or "g".  So many singers try to fake it or ignore it.

Mezzo Jazimina (we LOVE that name) Macneil has a most pleasant voice and sang Jacobi's "In der Mitternacht" and Novalis' "Nachthymne" as well as sharing Novalis' cycle of four hymns with Mr. Markgraf.

In the second half of the program we heard tenor James Barbato singing some rather sad songs by Jacobi and Schubart; his voice is particularly affecting in the middle of his range.  Soprano Mary Feminear introduced us to a charming song by Schubart "An mein Klavier", a love song to a piano.  But she really shone in the Suleika songs of von Willemer in which she gave herself over to the ecstasy of the words and music.

As usual, artistic co-directors of Schubert@Co. Lachlan Glen and Jonathan Ware served as piano partners.  Their pianism is flawless and always makes it clear what Schubert wanted to say in his writing.  We want to acknowledge them once more for giving us the opportunity to hear some lesser known lieder.  They all deserve to be more widely performed.

We are eagerly awaiting the next installment of this exhaustive perusal of Schubert's vocal oeuvre.  Schedule is available on their website.

(c) meche kroop