LINDEMANN RECITAL

Kidon Choi, Zalman Kelber, Ian Koziara, Nate Raskin, and Rihab Chaieb

Once again, we are in the position of singing the praises of the Lindemann Young Artist Development Program. Regular readers are familiar with the high esteem in which we hold this program. Since singing praises is not what you are here for, let's talk about the actual singing.

There were three splendid singers and two sensitive collaborative pianists on the program, all of whom we have reviewed before, all winners of various competitions, all with great futures ahead of them. That they all have terrific technique is a given, so let's take a look at their artistry, the interpretive technique that kicks their vocal skills up a notch. All three singers had performed their own translations which generally leads to a convincing delivery.

Mezzo-soprano Rihab Chaieb had just the right manner of conveying the sense of the Apollinaire poetry that Francis Poulenc set so aptly. There are several moods expressed in  Banalités and our preference was for the most banal of all. Ms. Chaieb knew exactly what she was singing about and the languorous line of  "Hôtel" was just about perfect. The very brief "Voyage à Paris" was nothing short of sheer delight, filled with the charming notion of escapism.

Her collaborative pianist Nate Raskin was with her cent pour cent, employing just the right light touch for these chansons.

Later in the program, tenor Ian Koziara performed Tel jour, telle nuit, a collection of nine Poulenc songs, settings of text by Paul Éluard. Mr. Koziara introduced the songs by admitting that they sound like nonsense and, indeed, that is exactly how the surreal poetry struck us.

If his French had not been so fine, we might have had an easier time of pretending that it was a language we didn't know but that is exactly what we had to attempt. We just paid attention to the fit between the sound of the voice,  and the sound of Zalman Kelber's lovely piano. The two artists matched each other beautifully, especially in the energetic "À toutes brides" and in the gentle  "Une herbe pauvre".

Mr. Kelber's piano was most impressive in "Figure de force brûlante et farouche". The song that most approached comprehensibility was "Nous avons fait le nuit", a paean to a beloved. Here, the appealing nature of Mr. Kozaria's instrument stood out.

Baritone Kidon Choi performed three songs from Mahler's Des Knaben Wunderhorn, putting us on more familiar territory. We are far more familiar with the "cute" songs from this collection, which often have an edge, but the songs chosen by Mr. Choi were filled with horror and heartbreak.

It is one thing to speak out against war but hearing the three personal tragedies of which he sang grabbed us by the throat and never let go. These are difficult songs to get across but Mr. Choi succeeded admirably by dint of being very involved. Through his eyes, we could see "Der Tamboursg'sell" being led to the gallows.  He used intense dynamic variations with a heartbreaking pianissimo on "Gute nacht"; Mr. Kelber's piano provided the grumbling drumrolls.

We liked the way Mr. Choi softened the color of his hearty baritone when he portrayed the girl welcoming what we took to be the ghost of her soldier-lover at dawn in "Wo die schönen Trompeten blasen". And Mr. Kelber nailed the interesting figures in the piano.

The powerful intensity continued throughout "Revelge" in which a fallen soldier has no one to carry him back to his quarters.  His mates are marching as skeletons.  It was completely chilling.

Fortunately, we were not sent back out of the Bruno Walter Auditorium in that mood of despair.  Ms. Chaieb closed the program with a set of songs by Sergei Rachmaninoff, each and every one a beauty. We always love songs about nature and about love!

In "Lilacs", Ms. Chaieb was so present that we could inhale the fragrance of our favorite flower. We have walked along Lilac Walk in Central Park every May and June, just to have the experience that this artist created so successfully.  

The only song that wasn't joyful was "Do not sing, oh beautiful one"; but there is pleasure to be found in sadness also, especially when the melody is so haunting and sung with such longing.  The recital ended with the very appropriate "Spring Waters", given an ecstatic delivery by Ms. Chaieb and Mr. Raskin. Gorgeous and timely!

(c) meche kroop 

A GIFT FROM LINDEMANN

Nate Raskin, Zalman Kelber, Adrian Timpau, Gabriella Reyes de Ramírez

We have written extensively about the mission and accomplishments of the Lindemann Young Artist Development Program, so let's just plunge right into yesterday's exciting recital. We confess that we are most receptive to a singer's artistry when we love the work he/she has chosen. Although we have sometimes been brought to appreciate a previously unloved work by a singer who can show us its worth, still we prefer to hear works that speak (sing) to us.

Schumann's Liederkreis, Op.39 is just such a work. Repeated hearings allow us to discover new ideas and feelings we may have overlooked. It is in Italian opera and German lieder that we can best appreciate the multiple features of a singer's artistry.

From the very first phrase sung by baritone Adrian Timpau we could assess that magical undefinable appeal that connects the singer with the audience, heart to heart. Mr. Timpau must love these songs and they fit his voice like a bespoke suit. The timbre is at times soothing and at other times forceful but there is always a connection with the material.

His German provided no opportunity for criticism. Vowels were round and resonant whilst consonants were crisp. We could understand every word without glancing at the program. Phrasing was lovely and there was ample dynamic variety.

This cycle tells no story--it is just a collection of splendid songs in different moods. Our favorite song is "Waldegespräch".  Mr . Timpau changed the warm color of his voice heard in "Intermezzo" to one of harshness as he sang the words of the rider in the forest who perhaps means no good toward the beautiful woman he comes upon, who just so happens to be the witch Lorelei. We could discern Mr. Timpau's intention to color their two voices differently but we sense that he could do just a little bit more to establish the man's character, whether he interprets him as seductive, well meaning, or evil. We would wish for a lighter color for the woman's voice.

In "Auf einer Burg" Mr. Timpau ensured that we saw through his eyes--the stone statuary and the abandoned hermitage.  Collaborative pianist Nate Raskin made sure that we heard, through his fingers, the rain, the woodland birds, and the musicians.  The performance was a revelation.

Mr. Raskin's piano was at all times in the moment. We loved the peaceful introduction to "Mondnacht" and the piano part of "Schöne Fremde". The searching melody in the piano created a spooky mood for Mr. Timpau's anxious verse in "Zwielicht". "Im Walde" was notable for the aural picture created by the artists--birds, hunting horns, and all.

We have one observation and perhaps a suggestion for Mr. Timpau. We noticed that he clasped his hands in a ministerial pose for the entire cycle. We would suggest that he loosen his grip and allow his hands to express what comes across so successfully in his voice.

Soprano Gabriella Reyes de Ramírez needs no such encouragement. Her body and face are as expressive as her large voice. The fine vibrato lent some serious overtones that we felt in the bones of our middle ear. The molecules in the room were dancing.

Her collaborative pianist Zalman Kelber was with her every step of the way. It's a fine voice for Strauss and we have no criticism of her German in the four selections we heard, but we enjoyed the Spanish more, probably because we don't get to hear it as often as we'd like.

Joaquín Turina's Poema en Forma de Canciones is a fine composition, filled with Andalusian flavor, so well captured by Ms. Ramírez and Mr. Kelber.  The Spanish rhythms of the lengthy piano introduction to "Nunca olvida" made us want to get up and dance.  

All the songs in this cycle are about love--disappointed love, ambivalent love, and love for the goddess Venus. Our favorite in this group was "Las locas por amor" when Venus turns down long term sensible love for brief mad passion! Yes indeed!

As much as we enjoyed these Spanish songs about love, we were over the moon for Ms. Ramírez' performance of "Carceleras" from the 1889 zarzuela Las Hijas del Zebedeo by Ruperto Chapí. In this song, the singer tells of her love for her sweetheart in extravagant metaphor. To say that Ms. Ramírez threw her all into this song is saying a lot; there is a lot of her and it is all wonderful!

(c) meche kroop