JOY QUADRUPLED

Lachlan Glen, Dimitri Dover, Steven Eddy, and Lilla Heinrich Szász

Joy of Singing was born in 1958 as an award program to foster the performance of art songs with special attention paid to interpretation and communication.  It was begun by Winifred Cecil, a noted singer and teacher. The program continues and is flourishing under the musical direction of Paul Sperry . Every year the winner of the competition is given a recital. This year, the quality of the competitors was so high that the judges were obliged to share the prize.

Thus it was that we had the opportunity last night at Merkin Concert Hall to hear two gifted singers and two exemplary collaborative pianists perform a program of art songs in several languages and a variety of styles.

Soprano Lilla Heinrich Szász has impressed us since her days at Juilliard, eventually winning their 2013 Honor's Recital among many other honors, all richly deserved. She has a lively winning onstage personality and a glorious ringing instrument that she easily bends to her will.

Her collaborative pianist, Australian Lachlan Glen, is also well known to us for several years, having won us over by his producing all of Franz Schubert's songs over the period of a year--a delicious extravagance never to be forgotten.  If there is a better interpreter of Schubert alive today we would be surprised. Besides this, he has incredible sensitivity to the singer. We noticed him actually breathing with Ms. Szász in rhythm.

Naturally, Schubert songs were selected to open the program and we were glad for it. "Vedi quanto adoro ancora ingrato!" is a bit unusual for Schubert; it is sung in Italian, the setting of a text by Pietro Metastasio. It was the perfect vehicle to show off both passion and delicacy in both artists.

We also heard the sorrowful "Die Liebe hat gelogen", the gentle "Der Jüngling an der Quelle" in which Mr. Glen's piano became rather spry, and the intense "Die junge Nonne", the most familiar of the set. The two artists drew us in totally with Ms. Szász seemingly losing herself in the throes of religious ecstasy and Mr. Glen creating quite a storm in the piano.

From a century later came four folk songs set by Zoltán Kodály which Ms. Szász, whose roots are Transylvanian, sang in Hungarian.  Fortunately she translated them herself for the program. We heard cries of despair and poverty, not the cheerful folk songs of Brahms. Our favorite was the final song which bore a mournful melody. The final note hung suspended in mid air.

The final set comprised songs by Benjamin Britten, the first of which was a setting of a W.H. Auden poem "Fish in the Unruffled Lakes" which did not make much sense to us. We greatly preferred "The Salley Gardens" to a text by W. B. Yeats.  The final song "Calypso" from Cabaret Songs had an urgent rhythm, with Mr. Glen creating the sound of a railroad train in his piano.

The second half of the program was given over to the other prize winner--baritone Steven Eddy and collaborative pianist Dimitri Dover. The two seemed to enjoy a special partnership, opening with one of our favorite Brahms songs "Meine Liebe ist grün". Another Brahms song "Botschaft" was performed later and we would have preferred hearing them in the same set. They are both so melodic and romantic.

Instead, there were two songs by Clara Schumann interposed. The first, "O weh des Scheidens, das er tat" was a sad one and seemed unresolved at the end.  The second "Liebst du um Schönheit" was quite lovely but suffered a bit by comparison to the Richard Strauss setting with which all lied lovers are far more familiar. (We couldn't help thinking of the Löwe setting of Frauen Lieben und Leben which one rarely hears because of Schumann's arguably better setting.)

Mr. Eddy excelled in his interpretation of Barber's Mélodies passagères. We enjoyed Barber's music so much better in French and we think that Rilke's poetry inspired him to new heights. Mr. Eddy's French served the music well and the fact that he translated them himself likely increased his involvement.  Particularly suited to his voice was "Le clocher chante" and Mr. Dover's piano made sure we heard the carillon. We also liked "Départ" a great deal.

Mr. Eddy explained the Jake Heggie songs which followed.  They were written for baritone Nathan Gunn and were inspired by paintings in the Dallas Art Museum. We found the concept more interesting than the music. Mr. Eddy's English diction is better than most but we still missed a lot of the words and there was no text provided to read. Our English-speaking companion was of the same opinion.

Fortunately the remainder of Mr. Eddy's program was thrilling. We love Dvorák's Gypsy Songs and have mainly heard them in German. Mr. Eddy, to our delight, sang them in Czech. We do not understand the language but loved the way the melody and the rhythm of the words lined up It was a spirited song about a folk dance and we were ready to get up and dance!

Similarly, we loved Respighi's "Invito alla danza", a more sedate and romantic song and perhaps our favorite song by this early 20th c. composer. Following along with the dance theme was Camille Saint-Saëns' "Danse macabre" and that's one dance we'd like to pass up!

If all we had heard were the encore we would have considered it a successful evening. That's just how wonderful it was!  From a rare Donizetti opera entitled Il Campanello di Notte, we heard the Brindisi "Mesci, mesci". Mr. Glen joined Mr. Dover for a four-handed accompaniment while Ms. Szász and Mr. Eddy performed with gusto and glee. We considered ourselves well prepared for the champagne reception upstairs!

(c) meche kroop

IF THE SHOE FITS....

Julia Bullock, Lacey Jo Benter, Elizabeth Sutphen (photo by Nan Melville)

It was a triumph of casting, staging and performance last night as Juilliard Opera presented Jules Massenet's 1899 opera Cendrillon.  Although updated to post-World War II Paris, the spirit of la belle époque shone through in the charming melodies and romantic sentiment.  If you did not smile from ear to ear when Lucette was reunited with her Prince Charming then you are immune to joy.

The libretto by Henri Cain hews closely to the Perrault fairy tale, as Rossini's Cenerentola (seen across the plaza at The Metropolitan Opera) does not.  The starring role was wisely given to the incomparable soprano Julia Bullock who is currently rocking the opera world with her gorgeous voice, stage presence and dramatic skills.

Here, she has created a truly lovable character who is not quite downtrodden, just neglected.  Her role gave her a chance to portray effectively a wide range of emotions, including terror.  Her opening aria showed her nobility of character.  Her duets with Prince Charming and with Pandolfe were equally memorable.

Poor Papa Pandolfe (the fine baritone Szymon Komasa) is the ultimate henpecked husband of the imperious and unpleasant Madame de la Haltière, brought to vivid life by the superb mezzo Avery Amereau.  Clearly, this character in this production gets by on the basis of stunning good looks and an acute sense of fashion!

Her daughters Noémie and Dorothée (here performed respectively by the excellent soprano Lilla Heinrich Szász and the fine mezzo Marguerite Jones) are neither vicious nor ridiculous, only privileged and controlled by their helicopter mother.  Indeed, one might say the story unreels as a domestic drama about a dysfunctional family.

But then, there is the magic of the fairy-tale component, so inextricably woven together with the reality.  And oh, what a piece of magic is soprano Elizabeth Sutphen whose thrilling coloratura nailed the florid trills and turns and runs of the Fairy Godmother. 

In the travesti role of Prince Charming, Lacey Jo Benter was completely believable as the bored and lonely prince whose father (the excellent bass Önay Köse) wants him to marry.  Ms. Benter sang with a warm tone, lovely phrasing and nearly perfect French diction (confirmed by our native French-speaking companion), obviating the need to look at the sur-titles.  Come to think of it, that was true for the rest of the cast as well.  What a treat it was to just sit and listen without reading!
 
 In the roles of the Prince's staff, we enjoyed tenor James Edgar Knight and baritones Kurt Kanazawa and Joe Eletto.  We couldn't imagine better casting.

The Juilliard Orchestra, always excellent, responded to the lively conducting of Emmanuel Villaume, who also addressed the audience in the persona of Charles de Gaulle, a fine touch.  The music ranges from sweet gentle love melodies to the rapid-fire and energetic music of the bickering family, while the fairy music has an other-worldly feel.  All were effectively communicated.

A fine directorial hand was shown by Peter Kazaras.  It was an interesting choice to set the piece in 1947, the only anachronism being the presence of a king and a prince.  However, the directorial choice allowed for some interesting sets and costumes.  Sadly, the extensive ballet was cut.

Scenic Designer Donald Eastman created a very authentic appearing bistrot, complete with Thonet chairs.  Lucette's step-mother was the proprietress with Papa being the barman.  When the fairy godmother gets Lucette and the Prince together, it is not in a garden but in a cinema.

Costumes were witty and accurate to the period with Lucette's ball gown evoking Dior's "New Look" in Schiaparelli pink--simply gorgeous.  The Fairy Godmother looked rather prim with eyeglasses and a tailored suit.  Her six helpers were dressed like bellboys; think vintage Philip Morris advertisements.  In a stroke of luxury casting, we heard Kelsey Lauritano, Nicolette Mavroleon, Hannah McDermott, Mary-Elizabeth O'Neill, Kara Sainz and Angela Vallone.  We heard them but we would never have recognized them in those costumes and wigs.

We have only seen this opera once before, in Santa Fe about 8 years ago.  Joyce DiDonato sang the lead, Eglise Gutierrez sang the Fairy Godmother and Jennifer Holloway sang the Prince.  Our notes read (verbatim) "Best opera of the Santa Fe season.  Original costumes, colorful and outlandish".  Now we have two stellar productions to hold in our memory.

© meche kroop

CZÁRDÁS!

Lilla Heinrich-Szász

Lachlan Glen

The beautiful soprano Lilla Heinrich-Szász managed to create on short notice a beautiful recital with the collaborative pianist Lachan Glen, who always makes a major contribution with his nuanced playing.  The entire recital was delightful but what swept us away was her closing number--"Heia in dem Bergen" from Imre Kálmán's Die Csardasfürstin.  This highly spirited aria was given its full measure by this gracious performer who put her entire heart and soul into it, not to mention her whirly-swirly hand-clapping dance, after which she graciously thanked her voice teacher Marlena Malas, her mentor and her piano partner.  We have seen her perform this aria before and hope she will use it to conclude every future performance.  It is unique to her.

With a bright crystalline sound and melismatic skill, she performed several selections from the baroque repertory--"With plaintive notes" from Handel's Samson and two selections from Les fêtes d'Hébé by Rameau.  We especially admired the mood shifts in "Fuis, fuis, porte ailleurs tes fureurs".

The Grieg songs were well handled with "Lauf der Welt" being particularly charming.  Marie's "Salut à la France!" from Donizetti's  La Fille du Regiment was completely enchanting.  José Serrano's "Marinela" from La Canción del Olvido was so lovely that we wish to learn it ourselves.  (Hooray for the recent interest in Spanish canciónes!)   In Verdi's "Arrigo! Ah, parli a un core" from I Vespri Siciliani we were impressed by the fine trill and the roller coaster-like descending scale.

 

There is a unique pleasure in witnessing a young singer's completion of her work at Juilliard, having enjoyed observing their growth.  But there is also a feeling of sadness to see them spread their wings and leave the Juilliard nest.  We want to thank Ms. Heinrich-Szász for so many fine recitals and wish her luck as she takes her Master of Music Degree into the wider world.

© meche kroop

LIEDER ARE FOR LOVERS

Our favorite hang

It is impossible to sit in Paul Hall at Juilliard during one of the liederabend without feeling grateful for the opportunity to hear the stars of tomorrow and being impressed by the quality of the talent.  These young artists are already performing professionally around the USA and abroad and/or recording.  We have them right here to enjoy and the recitals are free.  Take that, Cleveland!

Last night's program was bookended by barihunks.  Philip Stoddard, partnered by pianist Jung A. Bang opened with four selections from Mahler's Rückert-Lieder, performed with consummate sensitivity and musicality.  In "Ich atmet' einen linden Duft" one could sense the aroma in the air.  And just listen to what Mr. Stoddard did with the word "frühling"!  This delicacy was followed by the wry mood of "Blicke mir nicht in die Lieder" and the solitude of "Ich bin der Welt abhanden gekommen".  We were totally transported by the variety of moods.  The lovely Ms. Bang has an equally sensitive light touch on the keys.

Partnered by Kyung Hee Kim, soprano Lindsey Nakatani used her bright soprano to perform Walzer Gesänge by Alexander Zemlinsky, settings of poetry by Ferdinand Gregorovius which Ms. Nakatani translated herself.  These are songs with which we wish to become better acquainted.

We have heard Mr. Bielfield and his superb tenor several times before and it was exciting to see him grow in a new direction, performing two selections from Liszt's Tre Sonetti di Petrarca.  With excellent support from pianist Ari Livne he conveyed the anxiety and the passion of the poet in "Pace non trovo". 

Soprano Lilla Heinrich-Szász sang Sechs Lieder, Op. 48 of Edvard Grieg accompanied by Dan K. Kurland, a fine partnership if we ever heard one.  Many moods were expressed and we especially enjoyed the lighthearted "Lauf der Welt" and "Die verschwiegene Nachtigall" and the always lovely "Ein Traum".  Ms. Heinrich-Szász will have the stage to herself Saturday night at 8:30 and we will be there.

Soprano Lara Secord-Haid and pianist Art Williford sang four selections from Enrique Granados' Canciones Amatorias.  We always welcome the opportunity to hear Spanish songs and these were lovely.

Baritone Emmett O'Hanlon closed the program with some American songs, stepping out of the late 19th c. from whence came the other songs on the program.  Piano partner Lachlan Glen, well known from Schubert&Co's year long perusal of all of Schubert's 600+ songs, showed us a different aspect of his pianistic skills in the songs by Charles Ives which Mr. O'Hanlon sang with fine technique and depth of feeling.  The optimistic "He is there!" contrasted with the sad "In Flanders Fields".  In the former, flutist Daniel James added his silvery voice.  But it was in the final song that Mr. O'Hanlon was the most moving,  Lee Hoiby's setting of "Last Letter Home", an actual letter by Pfc. Jesse Givens who apparently lost his life in service to our country.  It was difficult to hold back the tears.

Let it be noted that the singers were all involved with their material and connected with the audience; they stepped forward away from the piano and used their entire bodies to convey the meaning of the song.  We have complained often about famous singers who hang onto the piano or who have not memorized the music and are so pleased to know that these young singers are not falling into those dreaded habits.

Mr. Stoddard's graduation recital will be April 8th at 8PM so if you missed his superb performance last night you will get another opportunity.

© 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