MANNING THE CANON

Efraín Solis, Matt Boehler, Daniel McGrew, and Scott Murphree

In celebration of the 50th Anniversary of The Stonewall Riots, the wildly entertaining concert Manning the Canon: Songs of Gay Life was revived ten years after its debut at the Lesbian, Gay, Bisexual, and Transgender Community Center. Just as we feel a little bit Irish on St. Paddy's Day, and a little bit Italian on Columbus Day, we feel a little bit "queer" this month.

It surely wasn't necessary to be a member of the tribe to appreciate the program. In the eloquent words of Steven Blier, taken from his copious and fascinating program notes, it is "a rainbow-colored celebration of wit, beauty, emotion, and forthright honesty". The concert is a co-production of Mr. Blier, Artistic Director of New York Festival of Song, and Jesse Blumberg, Artistic Director of Five Boroughs Music Festival--both champions in the world of song.

And what songs we heard! Sets of well-curated songs about gay life were interspersed with songs by gay composers. The songs were universal in appeal; we all have a wide palette of feelings about love and sex, longing and disappointment, closeness and distance. 

Our favorites ranged the gamut, from hilarious cabaret songs to serious 19th c. compositions. Let us describe a few. As readers may have predicted, for our ears Schubert always comes out on top. The four members of the cast joined in exquisite harmony for Schubert's "Der Gondelfahrer", a setting of text by Johann Mayrhofer with whom the composer shared a bed for a couple of years. The lyrics scan and rhyme just the way we like and the melody took its cue from the text. 

Walking on the wilder side, we loved the cabaret song "An Admission" by Joseph Thalken with funny and tender lyrics by Mark Campbell whose libretto for The (R)evolution of Steve Jobs enchanted us so at Santa Fe Opera. The subject was the disappointment felt when one's prospective bedmate undresses and appears in all his naked inglorious glory. We are quite sure that everyone could relate to that one! Tenor Scott Murphree got all the feelings across, including the resolution at the end.

Drag offers so many opportunities for humor and John Wallowitch's cabaret song "Bruce" gave bass Matt Boehler an opportunity to use his loose-limbed frame, mobile face, and deeply resonant voice to portray a man criticizing Bruce's over-the-top style of dressing. The rhymes were beyond clever and Mr. Boehler did a swell job of getting the song across.

On the serious end of the spectrum, baritone Efraín Solis imbued Manuel de Falla's "Polo" with the requisite pain and just enough Latin sabor. Mr.Blier's insistent piano added to the drama.

There are songs that were written about a man and a woman that can be readily co-opted and placed firmly in the gay corner. Perhaps at the top of the list is Cy Coleman's "Tennis Duet" from City of Angels, for which David Zippel wrote the incredibly clever lyrics, filled with double entendres. Tenors David McGrew and Mr. Murphree made a marvelously flirtatious couple, sparring wittily with tennis rackets and provocative dialogue.

The program ended with Cole Porter's "You're the Top" in which the repetitive phrase "Baby, I'm the bottom you're the top" took on new meaning and was all the funnier for being played mostly straight by the ensemble. Porter's rhymes are hilarious and it was worthwhile to search out the lyrics to catch a few words and references we missed. 

The encore was sensational--"My Guy", written by Smokey Robinson (of The Miracles). In true Motown fashion, there was plenty of extravagant synchronized gesture and terrific harmonies.

We are sure that every person in that room had their own favorites. Those were ours. We were there when the show had its debut at the same LGBT Community Center ten years ago and were happy to enjoy its warmth and wit once again. Indeed it remains a source of PRIDE for its creators and its cast.

(c) meche kroop

SING WHAT YOU LOVE!

Chris Reynolds and Dominik Belavy

Dominik Belavy and Joshua Stauffer

"Sing what you love" was the advice offered by a famous conductor/coach to a Juilliard student (now world-famous) during a master class. That was his only comment. And it was great advice. Perhaps some of our readers were there and know of whom we are speaking. We will keep mum on that point unless pressed to reveal.  Hint: The former was JL and the latter was IL.




It came to mind yesterday when Dominik Belavy performed his graduation recital; he will receive his Master of Music Degree from Juilliard this year. We have had six years to appreciate his gentle lyric baritone and now it is time to see him move on. This is always a bittersweet time for the young artists and for this not-so-young reviewer. We love to see them move on to a professional career but we will miss them.


The reason we thought of that memorable moment from so many years ago was our witnessing the stunning manner in which Mr. Belavy came alive for the final set of his program, comprising Maurice Ravel's Histoires naturelles. This would never be on our short list of favorite cycles because of it's prosy quality, but Mr. Belavy's interpretation brought it up several levels in our estimation.

With great involvement he limned the self-important peacock, the frightened cricket, the cloud-obsessed swan, the combative Guinea hen, and above all, the image of a Kingfisher alighting on a fishing rod. His commitment to the text helped us to see everything in our mind's eye. It was a brilliant performance. We are sure that Mr. Belavy adores these songs. Oh, and did we mention that his French was as fine as one would wish and perfectly understandable?

What we adore is Schubert and collaborative pianist Chris Reynolds appears to share our feeling. His partnership with Mr. Belavy was most successful; still it is fair to say that Mr. Reynolds partners well with just about everyone. 

What we love about Schubert's lieder are the memorable melodies. The strophic nature of the songs helps these melodies to play over and over again in one's head so the delight is more than momentary. The major/minor shifts remind us that every joy has a touch of sadness and every grief has a touch of joy. Mr. Belavy responded by matching Mr. Reynold's variety of dynamics and color.

It is difficult to pick a favorite but "Des Fischers Liebesglück" is so filled with peaceful pleasure that we lean in that direction. Mr. Reynolds created the rocking of the boat and Mr. Belavy successfully negotiated the upward skips as he related the images of a courting couple out on the lake for a midnight row.

"Alinde" is right up there as well. Even though we just heard it recently it felt fresh and gave us the same pleasure at the end when the long-awaited Alinde finally arrives. Better late than never!

We found no flaw in Mr. Belavy's German and heard the same clarity in his performance of a selection of 17th c. English songs by Henry and William Lawes. These songs were accompanied by the theorbo, that magnificent instrument, here so well played by Joshua Stauffer, who also switched to baroque guitar for one song.

If we didn't relate to them we can attribute that to the use of the detestable music stand. Perhaps Mr. Belavy was too busy with other work to learn the songs sufficiently well to perform them off the book but we felt absolutely no connection. The tone was sweet, the words were clear, but the message stayed on the page. We found ourself focusing on that magnificent theorbo.

It occurred to us that perhaps Mr. Belavy did not love those songs so they stayed forlorn on the page. To give a song wings, one must love it and want to share it. So, JL was astute in his advice.  Mr. Belavy, sing what you love!

(c) meche kroop

MARILYN HORNE SONG COMPETITION WINNERS

Andrew Sun and Kelsey Lauritano at National Sawdust

GUEST REVIEW BY CULLEN GANDY:

The Music Academy of the West held its annual Marilyn Horne Song Competition winners recital tonight in Williamsburg.

MAW is one of the few companies for young opera talents that also heavily nurtures the craft of art song interpretation. Every year, during the glorious summer stint that each of the artists spend in Santa Barbara, the singers and collaborative pianists come together to perform and compete against one another.

The prize? A whirlwind, multi-city recital tour and $5000 toward the future development of the artists. As I can attest, such opportunity for exposure/financial assistance goes a long way for a musician who is transferring from apprenticeships into the world of professional artistry.

The setting at National Sawdust was cozy, but with a modern-art type of sensibility. It was a large enough space to feel more formal than a parlour evening, but intimate enough to have the music feel as though it reached out and touched you individually — But that could have just been the talent we had.

Kelsey Lauritano is a vocal empath. More than that, she is a conduit for the emotion of a song; she makes everyone else empathize with the characters in the music. The young mezzo-soprano has a supple voice, but it isn’t really just the one aspect that makes her performance stand out. It’s the whole package.

Her’s is the level of preparedness and easy technique that makes you forget about the singing. It actualizes and elevates the music and the poetry, and doesn’t boast in its depth and agility (though she has those qualities in spades).

It made me question what I thought I knew about my musical tastes. I never remembered much enjoying Ravel’s Histoires Naturelles before having heard it tonight. During the Ricky Ian Gordon debut Without Music, people were actively sobbing behind me; almost to the point of distraction. This is the kind of effect that Lauritano wove throughout the whole 90 minutes.

A fellow Juilliardie, this level of expression and attention to detail is likely baked into her artistic id. That program is exceptionally devoted to the advancement of art song, and features many singer/pianist duos in liederabend evenings; all throughout the year. The people who study there have access to some of the industry’s foremost authorities on diction and musical coaching. If you ever get a chance, I highly recommend going and catching one of those, as they are free to the public.

At the piano, Andrew Sun‘s mastery of technique led me to forget just how difficult some of the music on offer really was. He was as adept at pulling out the lines of a strophic Schubertian melody, in "Du bist die Ruh' ", as he was at piloting the winding, harmonically denser passages of the Ravel and of the Gordon cycle. His playing, too, felt like it transcended showmanship or virtuosity; opting to get to the meat of the core emotion of the works at hand. It was as if he knew how to play the poetry that she was singing.

Another win, for me, was the pace and structure of the recital programming.

The duo initially eased the audience into the night with some more well-known Schubert pieces. This accomplished two things: 1) It gave the audience something pleasing to listen to, and fostered an enjoyable, comfortable beginning to a longer evening of song and 2) it introduced the animation of the presence and voice of the interpreters; reassuring the audience that they would be engaged through some of the more complex music.

Because of the acting, and its connection to the voice, I forgot to be critical. I became just a witness, wondering what would happen next.

There will be two more shows featuring the pair; one in Chicago (May 22nd) and another in Santa Barbara (May 24th). I definitely implore you guys, if you’re on-hand in the area, check this one out. You won’t regret it.

This review was done in cooperation with Voce di Meche.

MATTHEW POLENZANI WAS VERY PRESENT AT ZANKEL HALL--but the farm boy disappeared.

Kathleen O'Mara, Marie Engle, Megan Esther Grey, Jennifer Johnson Cano, and Matthew Polenzani

Julius Drake and Matthew Polenzani

Matthew Polenzani is a beloved tenor, well known to those who frequent The Metropolitan Opera. Perhaps there is no tenor in his generation who can fill the Metropolitan Opera with so much beautiful sound. But do all of our readers know what a superb recitalist he is?

It is a special thrill to experience his artistry in a smaller house.  It has been four years since we heard his recital at Alice Tully Hall and six years since his recital at the Morgan Library as part of the George London Foundation recital series--a return which celebrated his 1998 award.

Yesterday's recital at Zankel Hall was even more intimate and we appreciated 

Mr. Polenzani's generous Italianate tone in both German and Czech; it is replete with resonance and his diction, thankfully, makes every word count. Still, the house lights were kept at a level that permitted those who do not understand foreign languages to read the translations.

The sound is huge and operatic when passionate intensity is called for-- but our preference was for the tender passages in which he mined great depth of feeling at even the most pianissimo level of dynamics.

Accompanied by the fine pianist Julius Drake, he opened his program with a half dozen Schubert lieder. He and Mr. Drake make a fine partnership since Mr. Drake's sensitive playing is never short of supportive. In the slow and melancholy "Nachtstück", the old man's harp was recreated by Mr. Drake's delicate arpeggi; Mr. Polenzani colored every word for maximum meaning.

In "Im Frühling", our personal favorite, the singer waxes nostalgic for happier days and Mr. Polenzani trailed off in a delicate decrescendo at the end. Schubert's brief interpolation of the minor key was well negotiated for maximum emotional effect. "Der Einsame" is a song of contentment and we have always called it "the cricket song" since the pianist gets to simulate their sound.

We haven't heard "Ständchen" so tenderly performed since we heard Paul Appleby sing it in Santa Fe. What an affecting performance with the tenderness yielding to passionate intensity!

Beethoven's song cycle An die ferne Geliebte is marked by a smooth segué between songs, creating a sustained mood. Alois Jeitteles' text uses imagery taken from the natural world to express longing for the beloved. Our favorite part is in "Wo die Berge so blau" when the piano echoes the unforgettable downward scale passage "Schauen herein" as it does in the subsequent "Möchte ich sein" and "Innere Pein" (now in a minor key) and "Ewiglich sein". That motif pulls on the heart as only Beethoven's can do.

The bittersweet "Es kehret der Maien" opens with a lilting piano that shows us an aural picture of birds and babbling brooks. The cheerful mood dissipates in the last two verses but acceptance is achieved in the final song "Nimm sie hin denn, diese Lieder". That sounds like a good life lesson; when you can't fulfill your longings, accept it gracefully.

Of Brahms' Zigeunerlieder, beautifully sung by mezzo-soprano Jennifer Johnson Cano, our favorite was "Brauner Bursche fürht zum Tanze" with its spirited rhythm. This took Ms. Johnson Cano into some lower register territory which she negotiated without strain. Her performances always delight us.

The second half of the program was devoted to Leoś Janáček's song cycle The Diary of One Who Disappeared. There is an interesting story about the text by Josef Kalda; in an elaborate hoax, which will resonate to those of our generation, the work was presented in 1916 in a Brno newspapers as "From the Pen of a Self-Taught Peasant", claimed to have been written by a farmboy who had mysteriously disappeared, leaving behind a story of having been seduced by a gypsy girl who bore his child, and then running off with her and her gypsy family.

This is not so different from "Songs of Bilitis" which were given a false origin as well.  And what about films that are purported to be "found footage"? Today we are accustomed to such pranks but we wonder if people of a century ago would have been enraged over the deception. Fortunately, they never found out because the hoax went unrevealed until 1998!

In any case, the work is an interesting one and Janáček's passionate outpouring of music expressed his unfulfilled longing for a much younger married woman. Czech is such a difficult language and it is impressive how well the composer matches its rhythms in his music. We notice that the lines of text are short. 

The story is an appealing one and filled with detail of farm life, such as fashioning a new shaft for a broken plow. There are also plenty of details about the seductive gypsy girl with her black hair and white breasts. The poor farm boy is driven mad with desire and post-coital regret, with the sexual congress depicted in a piano solo. This allowed Mr. Drake to let out all the stops!

Music stands were used and, in this case, we can understand and tolerate their presence; but we must say that the part we enjoyed the best was when Ms. Johnson Cano walked onstage to sing the part of the gypsy Zefka--off the book! And she sang the hell out of it!

Contributing to the texture of the music was a chorus of three women who sang from the balcony--soprano Kathleen O'Mara and mezzo-sopranos Marie Engle and Megan Esther Grey. They sounded like a choir of angels!

This was interesting music, filled with pungent harmonies and wild rhythms. We don't know if we will ever get to hear it again but are very glad to have experienced it once.

As usual, the audience rose to its collective feet and showered the artists with accolades. Mr. Polenzani pointed out that the final work was a "tough act to follow" but he nonetheless rewarded his fans with a heartfelt delivery of "Danny Boy".

(c) meche kroop

LONGING, LOVE, AND LAUGHTER

Ryan Hurley, Marina Iwao, Santiago Pizarro, Bronwyn Schuman, Maxwell Levy, Kathleen O'Mara, and Brandon Linhard at Juilliard Liederabend

We accidentally spelled Juilliard with three "l"s, possibly because of the presence onstage of love, longing, and laughter. In another delightful liederabend, coached and curated by Cameron Stowe, an adventuresome program was offered without anything to injure our tender ears. As a matter of fact, our tender ears felt absolutely caressed.

So then, what was the adventuresome aspect? It was the creation of a faux song cycle by Schubert. Well, it wasn't exactly faux. Schubert composed the music for these four songs as a group.  However, Goethe wrote the texts separately and they were published separately, but a case could be made that Schubert had some resonance in mind as he composed the music, a resonance picked up by Mr. Stowe.

In any event, we enjoyed the juxtaposition as well as the expressive singing of tenor Ryan Hurley. "Der Musensohn" is well known and one of our favorites; we enjoyed the lively rhythms although we would have preferred a lighter touch in Marina Iwao's piano.

The following three songs are lesser known and we were happy that Ms. Iwao's enthusiasm abated so we could better hear the text. The plaintive text of "An die Entfernte" received the appropriate coloring from both voice and piano who matched better with each other. The sad feelings continued in "Am Flusse" whilst "Wilkommen und Abschied" ended on a more optimistic note.

We found ourselves wishing that we had poets like Goethe today. We also found ourselves wishing that the ignorant members of the audience would withhold applause after every song. Perhaps this advice could be stated right on the program!

There was more Schubert to come from Kathleen O'Mara with her lovely sweet soprano instrument. "Die junge Nonne" is such a wonderful song, filled with opportunity for variation in coloration which we hope Ms. O'Mara will develop. There could be more contrast between the storm and the inner peace felt by the young nun. We did hear that contrast in Cameron Richardson-Eames' piano.

We were so happy to be introduced to "Dass sie hier gewesen" with Friedrich Rückert's poignant sentiment. Come to think of it, we could also use a Rückert today!  The lengthy paean to the joys and pains of love found in "Lied der Delphine" was another newfound treasure.

Tenor Santiago Pizarro was on hand to offer songs by Franz Liszt. We never knew that "Im Rhein, im schönen Strome" existed and utilized the same Heinrich Heine text that Schumann set in his cycle Dichterliebe, with just a single word change. Liszt's iteration has a totally different feeling and we enjoyed Mr. Pizarro's delivery.

Collaborative pianist Bronwyn Schuman produced some fine rippling figures as backdrop to the voice. Other moods were created as well--the gloom of "Ein Fichtenbaum steht einsam", the bitterness of "Vergiftet sind meine Lieder" and the confused feelings of "Freudvoll und Leidvoll". We think Mr. Pizarro will likewise develop more variety in his coloration.

The liederabend concluded with some cabaret songs by William Bolcom, sung with high drama and good humor by baritone Maxwell Levy, accompanied by Brandon Linhard. The only one of this group with which we were familiar was "Murray the Furrier". "Thius, King of Orf" was over after just one phrase. Perhaps our favorite was "Satisfaction". Mr. Levy has a real flair for cabaret and our conjecture is that he has spent some time with Steven Blier--or will do so.

Our major quibble with young singers is inconsistency in the pronunciation of the final "ch". Sometimes it is omitted; sometimes it is over-enunciated. Perhaps coaches don't work on it because they think very few people speak German. But we have to pick on something, don't we?

Nonetheless, we had a fine time at Juilliard and count on several more liederabende in 2019!

(c) meche kroop

ATHENA MUSIC FOUNDATION WITH SONGS OF THE SEASON

Michael Fennelly, Alyson Cambridge, Constantine Maroulis, and Jennifer Kahmar Curreri
leading the Port Jervis Children's Choir onstage at Weill Recital Hall of Carnegie Hall

You will, dear reader, pardon us for departing from our customary habit of writing about the pianist last. Sometimes we are familiar with an artist in a certain guise and then see them in a new light (hear them in a new sound?). We have known Michael Fennelly for years as a collaborative pianist and have always admired his sensitive partnership with a variety of young singers.

Last night we heard him perform as a soloist, a performance in which both he and the piano virtually levitated off the stage of Weill Recital Hall. He performed his own arrangement of George Gershwin's 1924 Rhapsody in Blue. At the work's premiere Gershwin himself played the piano accompanied by a jazz band. He didn't write down the piano part until the performance ended! We wonder what Rachmaninoff and Stravinsky thought of the work; they were present at the premiere!

There have been many iterations and orchestrations but we have never heard the work the way we heard it last night. The audience, as one, jumped to their collective feet and whooped!  Although not a "classical" theme and variations format, there were several contrasting themes, each with its own variations. There was an astonishing variety of tempi, rhythm, and dynamics.

This would have made a rousing opener or finale for the concert of the Athena Music Foundation (of which Mr. Fennelly is the founder) which starred the famous soprano Alyson Cambridge, known to opera goers everywhere. We had heard her twice before. Two years ago she dazzled us with "Song to the Moon" from Dvorak's Russalka at a New Amsterdam Opera Gala and last year she created the role of Sally Hemmings--a highly believable and sympathetic creation-- at one of Andrew Ousley's Crypt Sessions.

Last night we got a clearer picture of just how versatile this dazzling artist is. The mixed program comprised an appetizer of art songs, a main course of Barber, and lots of spirituals, American musical theater and Christmas music for dessert, with an opera aria for seasoning.

In every case, Ms. Cambridge showed a compelling stage presence, looking equally glamorous in a pale pink tulle gown and a sexy red one, thus reflecting her vocal versatility. For our taste, the Shumann ("Widmung"), Schubert ("Ave Maria"), and Richard Strauss ("Zueignung") remained our favorites. There was so much vocal and gestural expressivity and passion that translations were unnecessary. Moreover, there is a deeply affecting vibrato in her instrument. We almost failed to mention the opening "Come All Ye Songsters" by Purcell which revealed Ms. Cambridge's facility with coloratura.

The songs of Fernando J. Obradors, whilst written in the 20th c., reveal no lack of melody and Ms. Cambridge made the most of the lively humor in "Al Amor", the sensuality of "Del cabello más sutil" and the charm of "Chiquitita la novia" which begins and ends with a gorgeous vocalise. Mr. Fennelly supplied the irony at the piano. The selection were drawn from Obradors' Canciones Clásicas Españolas.

Samuel Barber's mid-20th c.  Hermit Songs have never been among our favorites but, performed by Ms. Cambridge, we think we "got" them.  We particularly enjoyed the good humor of "The Heavenly Banquet", expressed equally by piano and voice; the short and worldly-wise "Promiscuity"; and the homey "The Monk and His Cat"--a song of mutuality, acceptance, and partnership. We also liked the haunting piano introduction to "The Desire for Hermitage".

Spirituals can be rousing for both singer and audience. "Every Time I Feel the Spirit" was a case in point.  Ms. Cambridge felt it and so did the audience.  It contrasted well with the gentle "There is a Balm in Gilead". 

We remain convinced the American Musical Theater is as valid as opera, especially when sung by someone this gifted. If there were any categorical differences between the three heroines of opera and musical theater, we failed to distinguish them. Carmen's self declaration in the "Habanera" from the Bizet opera of the same name; Nettie from Richard Rogers' Carousel singing "You'll Never Walk Alone"; and Julie from Jerome Kern's Showboat singing "Can't Help Lovin' That Man O' Mine".  These are all complex women singing powerful songs about different kinds of love. 

A special treat was in store when the Port Jervis Children's Choir, conducted by Jennifer Kahmar Curreri, came onstage and performed "Deck the Nutcracker Hall", an arrangement of Tchaikovsky's music for the ballet Nutcracker. Still, we preferred the children's performance of "Sing Alleluia", arranged by Victor C. Johnson.

As if that were not enough entertainment, there was a guest vocalist from Broadway named Constantine Maroulis who toured with Ms. Cambridge in Rocktopia. He joined Ms. Cambridge for a selection of Christmas music, delighting the audience.

We enjoyed the variety of the evening called ""Tis the Sunday: Songs of the Season" and we enjoyed introducing a "newbie" to the world of unamplified vocal and pianistic artistry. It is always rewarding to witness the pleasure good music can give.

(c) meche kroop

WIE WUNDERBAR!

German Forum President Barbara Heming, pianist Babette Hierholzer, oboeist Julia Obergfell, and baritone Äneas Humm

Last night's German Forum presented their Fall Concert at Lincoln Center's Bruno Walter Auditorium and we are pleased to report that in spite of ex-President Henry Meyer-Oertel's retirement, the music and good fellowship remain intact under the stewardship of new president Barbara Heming.

Guests were welcomed, the mission reiterated, and the young artists presented. We were introduced to the astonishing young baritone Äneas Humm several years ago when the German Forum brought him here from Switzerland. We were amazed by his artistry back then and he has only gotten better each time we hear him.

Last night his light lyric instrument served well in a selection of Schubert lieder. In "Der Wanderer" (the one with text by von Lübeck) the poet is lonely and unhappy; this was successfully conveyed by the singer's word coloring. The contrasting third stanza ("Wo bist du") was filled with anguish. Mr. Humm rose to the challenge of the low tessitura.

The poet in "Der Wanderer an den Mond" is also lonely; but the colors were different as he contemplates the moon and compares their differing situations. The excellent collaborative pianist Babette Hierholzer established a walking rhythm.

"Der Jüngling an der Quelle" tells of a youth filled with unrequited longing; both singer and pianist filled out the music with sweetness.

We can think of no lieder composer we love more than Schubert but we have no love for "Der Zwerg". The problem is not with the music or its performance. We just hate the story of the jealous dwarf who strangles his Queen and throws her into the sea. Still, our singer is a master story-teller.

Robert Stolz's compositions of the early 20th c. bring fresh delights to the ear. From his operetta Mädi, we heard "Bisschen Liebe tut gut" and for this our singer assumed a rakish pose and a charming seductive mien that suited him well.

Not as well suited to his voice was "Sorge infausta una procella", sung by the magician Zoroastro in Händel's opera Orlando. This aria is usually sung by a heavy bass and was not the best choice for a lyric baritone. Furthermore, work needs to be done on the articulation of the fioritura.

Far better were two songs by Viktor Ullman, the Austrian composer who wrote the satirical opera Der Kaiser von Atlantis which we have twice reviewed. Mr. Humm performed two songs of his that were translated from Farsi--"Vorausbestimmung" and "Betrunken". The music is replete with early 20th c. irony.

Co-starring on this interesting and varied program was young German oboist Julia Obergfell who began her musical childhood as a pianist until she fell in love with the oboe. We have also loved the oboe solos in symphonic works but have never heard the oboe in recital. Last night we realized how similar to singing it is.  Breath control and phrasing and color are all important.

The first movement of Schumann's Romance, Op. 94 had some graceful phrasing and a mournful feel. In contrast, we heard Telemann's Fantasy in B minor which demanded a crisper sound and some impressive staccato. Ms. Obergfell's artistry is unmistakable.

Her major work on the program was Poulenc's Sonata for Oboe and Piano. The Elégie was melodious and mysterious and had an impressive trill.  The Scherzo was frisky and fast with fleet fingering required on the repeated notes. The final movement Déploration involved some pensive phrasing and lived up to its meaning--"lamentation". In Ms. Hierholzer, the singer found a worthy piano partner indeed!

We were so happy to see Mr. Meyer-Oertel in the audience and equally happy that the German Forum continues its worthy mission of bringing young artists from German speaking countries to the USA to perform. We have a high level of confidence in the new President Barbara Heming. You too can be part of this valuable organization for a modest contribution. Music, food, wine, and good fellowship!

(c) meche kroop

ANY FRIEND OF VIRA IS A FRIEND OF MINE

David Sytkowski, Elizabeth Pojanowski, Samuel Schultz, and Vira Slywotzky

A new vocal series is something to get excited about! We enjoyed Vira & Friends Sing the Classics so much that we have already put the next recital on our calendar and so should you; it will be at 5:30 on September 15th at the same location--Scorca Hall of the National Opera Center.

Two things impressed us right away in addition to the singing. Firstly, the programming was given over almost totally to story telling. Each singer performed at least one cycle each of which was like a mini-opera.

The second thing that impressed us was hearing an excellent collaborative pianist whom we'd never heard before. David Sytkowski doesn't play much in New York so we consider ourselves fortunate to have heard him, bringing out so many subtleties of the accompaniment whilst supporting the singers with sensitivity and generosity. We appreciate the lid being on the long stick for maximum tone.

Soprano Vira Slywotzky-- whom we have reviewed so many times with 5BMF, Mirror Visions Ensemble, Light Opera of New York, and Victor Herbert Renaissance Project Live--welcomed the audience and got things started with a trio of songs by Stefano Donaudy from Arie di Stile Antico.

Donaudy was a contemporary of Giacomo Puccini who looked forward in time and moved opera into the 20th c. whilst Donaudy often looked back into the Baroque. Ms. Slywotzky has a lively and inimitable personality that serves her well in song interpretation. There were no titles or translations but the singers introduced the songs of their choice and told the audience what the song was about--a reasonable alternative.  

"Sorge il sol! Che fai tu?" was performed with appropriate gaiety. "Sento nel core" was filled with Baroque sensibility and a pleasing excitement. In "Vorrei poterti odiare", Mr. Sytkowski's frisky piano and Ms. Slywotzky's exaggeratedly rolled "r"s limned the ambivalence of the song's text.

In Debussy's Trois Chansons de Bilitis, we heard a somewhat different interpretation than we heard the last time. That is what is so great about art, that it can be interpreted in many ways. The last time we heard this cycle, the woman was giving us snapshots of three stages of her life with the third song interpreted as one of a late stage breaking-up love affair with all the magic gone.  Ms. Slywotzky's interpretation was far more sanguine with the man showing the woman what she was longing for through a shard of ice.

Her final selection was Schubert's setting of von Collin's horrific "Der Zwerg", the story of which we have always detested. But she told the tale well, in spite of being "on the book". Her dramatic abilities are keen and just a touch more differentiation of color among the narrator, the young Queen, and the murderous dwarf would have pushed the performance into a higher level. We kept thinking of the four voices necessary for Schubert's "Erlkonig".  We hope she will perform the song again without the music stand.

We had only heard mezzo-soprano Elizabeth Pojanowski once before in Greg Kallor's The Tell-tale Heart. It is difficult for us to evaluate a singer's vocal artistry in contemporary works, especially sung in English. We only recall her theatrical flair. But listening to her singing Rossini's late-life cycle La Regata Veneziana enabled us to appreciate her voice as well as her dramatic skills.

We got to hear Anzoleta's anticipation of her lover's competition in the regatta, her wild excitement during it, and her pride and satisfaction in Momolo's winning.  All this in Venetian dialect! It was a splendid performance of an old favorite of ours and of mezzo-sopranos everywhere.  Where would mezzos be without Rossini!

We were slightly less enthusiastic about her performance of five excerpts from Robert Schumann's Frauenliebe und -Leben. For one thing, we missed our favorite songs. For another, we were distracted by the singer's inconsistency with the "ch" sound. At times it was correctly pronounced; at other times it was almost omitted, and occasionally it was too 'hard'. This flaw is so common in American singers but it shouldn't be! There are always some of us in the audience who are German speakers and who will notice the lapse.

We understand that this cycle has personal meaning for Ms. Pojanowski who has lived through courtship, marriage, and motherhood and we wanted so much to be drawn in but the German got in our way. We also like to hear more change in color from the starstruck adolescent in "Seit ich ihn gesehen" to the mother in "An meinem Herzen". Perhaps if the singer had performed the entire cycle straight through to widowhood we might have heard this evolution.

The third singer on the program was mellow-voiced baritone Samuel Schultz, heretofore unknown to us. We have heard Ravel's cycle Don Quichotte à Dulcinée several times this year and love the opportunity it gives the baritone to show three separate emotions. He is the ardent lover, then the virtuous devoté of the saints, and finally, the bibulous knight in his cups. Show us a singer who doesn't love to play drunk or an actor who doesn't love a good death scene!

We found Mr. Schultz' French adequate, as we did Ms. Slywotzky's in the Debussy, but our native French-speaking companion thought somewhat less of their linguistic skills.

Speaking of which, Mr. Schultz' English was totally comprehensible in the final set of songs--and that's rare. What we heard did nothing to improve our opinion of contemporary composers' ability to write for the voice. We believe that their choice of text is largely at fault.

Erich Korngold's setting of Margaret Kennedy's "Tomorrow" was just gloomy. These two icons of the 20th c. were contemporaries. Although Mr. Schultz gave clarity to each word, we found our mind wandering.

In Everyone Sang, a song cycle by the living composer David Conte, we were happy to focus on Mr. Sytkowski's performance of Mr. Conte's lovely writing for the piano, but the vocal line and the text struck us as typically uninspiring, in spite of the fact that the singer was coached by the composer. Perhaps 19th c. composers just knew how to select text that would "sing".

Let it be noted however that the sizable audience applauded mightily and seemed not to share our indifference.

Vira & Friends merits financial support and if you are a fan of art song recitals, you might want to see the website for updates. www.viraslywotzky.com/engagements.  Or email to info@viraslywotzky.com.

(c) meche kroop

OPERA INDEX COMPETITION WINNERS RECITAL

Lawson Anderson, Brittany Nickell, and Michael Fennelly

We have often written about the generous dispersal of funds by Opera Index, and the care with which the young singers are selected for awards. The excellence of last night's recital at the National Opera Center came as no surprise. Luminaries of Planet Opera gathered to hear the "stars of tomorrow"; but we call them "stars of right now". They were introduced by President Jane Shaulis.

Soprano Brittany Nickell impressed us as a graduate student at Manhattan School of Music with her large and stunning instrument. Bass-baritone Lawson Anderson burst onto our radar screen just two years ago and dazzled us with his Mozart and Wolf, Borodin and Gounod. We heard potential in his Wotan but he didn't sound quite ready.

Well, hello Wotan! What progress he has made recently, coached by Valentin Peytchinov! We haven't enjoyed a Wotan since James Morris retired the role and we are sure that Mr. Anderson has received some input from Mr. Morris.  Truth to tell, if his casting were announced today we would be first in line for tickets!

Mr. Anderson has a dark mature sound and did a fine job in "Abendlich strahlt der Sonne Auge", creating a mood of authority.  As he invited Fricka to join him in their new home at the end of Das Rheingold, we thought "We'd follow him anywhere". We did follow him all the way through "Wotans Abschied", observing his gorgeous German, fine phrasing, and smoky tone.  But what we admired most was his ability to create an entire panoply of moods by means of gesture and vocal coloration. 

Wotan has been out-argued by Fricka and must punish his favorite daughter Brunhilde by depriving her of immortality. He must convey anger, sorrow, love, regret, and everything in between. Personally we cannot enjoy The Ring Cycle unless we have come to care deeply for the all-too-human Wotan with all of his flaws.  Morris succeeded and so did Mr. Anderson.

We were very impressed by the orchestra! Well, it was "just" Michael Fennelly playing his own arrangements of Wagner's score on the piano but it sounded like the Full Monty!

We were glad Mr. Anderson also included a few selections from Schubert's Winterreise which we so enjoyed hearing him sing in toto just two weeks ago. He also reprised an aria from Borodin's Prince Igor--"Ni sna, ni otdyha" in enviably fluent Russian.

Mr. Anderson is magnificently versatile and gave the audience a good taste of his Mozart. He made a fine Figaro expressing his rebellion against the Count in "Se vuol ballare" from Le Nozze di Figaro, and a very seductive Don Giovanni in "La ci darem la mano". His Zerlina was Ms. Nickell.

We wrote about this compelling soprano when she was studying at Manhattan School of Music and also witnessed her performance in a Marilyn Horne master class. We love her brilliant upper register with a fine vibrato that seems to contribute overtones upon overtones. What is special is that there is no loss of power at the lower end of the register, but rather a seamless quality from top to bottom. 

We had previously heard her "Robert, toi que j'aime" from the Meyerbeer opera Robert le Diable and admired her facility with French; we were delighted to hear it again. We heard impressive Verdian inclinations in "Come in quest'ora bruna" from Simon Boccanegra. Recalling her fine performance in Conrad Susa's opera The Dangerous Liaisons, we formed the opinion that Ms. Nickell is more of an opera singer than a lieder singer, although that may come along later.

The three Duparc songs she offered last night were finely rendered with delicacy and sensitivity and a lovely pianissimo; but it seemed to be an effort to hold herself back to fit the Gallic model--like driving a Lamborghini in city traffic. Of the three chansons, we preferred "L'invitation au voyage" in which the composer had more text and more time to develop his compositional ideas with dynamic variety. And Mr. Fennelly's piano was again, a revelation.

We thought that the Strauss songs were a better fit for Ms. Nickell's sizable soprano. We heard the timely "Frühling" and "Beim Schlafengehen" with its lovely piano interludes, from Four Last Songs. We thought that sleep was used as a metaphor for death. Even better was "Wie umgibst du mich mit Frieden" from Die Liebe der Danae, an opera we have never heard.

There is one aspect of performance that we hope Ms. Nickell will work on, and that is acting.  Offstage she has a lovely warm smile but onstage there was a constant expression of distress on her face. Of course we do not know what she was thinking or feeling during the performance but we wanted more variety.

In the Duparc we wanted a more languorous interpretation and we wanted to see Zerlina's flirtatious side. We believe that holding different images in mind during the performance could only spill over to a better palette of vocal colors, something that Ms. Horne, if we remember correctly, also brought up in the master class. Now we just remembered something from Ms. Horne's wise advice which Ms. Nickell seems to have followed. She was advised to "enjoy the melisma". Listening to her Strauss, we surely did!

(c) meche kroop

JOHN AND PETER

Peter Dugan and John Brancy

Hearing baritone John Brancy Thursday night in recital with pianist Peter Dugan got us wondering about how long we have been witnessing his artistic growth. The earliest review we could find was 2011, just about the time we began writing about young singers. He was one of the Juilliard students participating in Lachlan Glen's year long perusal of Schubert's 600+ songs.

But we are sure we were impressed with his singing even before that date! We have heard him win converts to the art of the song several times with New York Festival of Song, with Marilyn Horne's program "The Song Continues", at the Brooklyn Art Song Society, at the National Opera Center, as an Opera Index Competition awardee, in recital at Carnegie Hall, and as Apollon in the Gotham Chamber Opera's production of Charpentier's 1686 work, La descente d'Orphée aux enfers.  

Coming back to his Juilliard roots, Mr. Brancy and his superb collaborator Peter Dugan (also a graduate of Juilliard) presented an interesting program entitled "Armistice: The Journey Home" in the 20th annual Alice Tully Vocal Arts Recital. The two artists met whilst at Juilliard and seem to have a knack for programming. They have their very own approach to art song, encompassing classic works that we love from the 19th c. to modern popular music and original arrangements of American song.

The standing ovation at the end of the recital plus the large crowd lining up to buy their debut CD ("Silent Night") attest to the success of their approach. Many of the works on the program were by composers who lived through The Great War.

The program opened with Mr. Dugan's fleet fingers flying through Gustav Holst's "Jupiter: The Bringer of Jollity". We enjoyed the popular song of that epoch by Oley Speaks--"When the Boys Come Home" .  Mr. Dugan's brother, composer Leonardo Dugan, contributed "I Have a Rendezvous with Death", a dramatic setting of some depressing text involving a searching theme in the piano.

It was moving to hear the first verse of Pete Seeger's "Where Have All the Flowers Gone?" sung by Mr. Brancy a capella, with Mr. Dugan's piano joining in, tentatively at first, including an extra verse which we had never heard.

We are not sure how the three songs of Franz Schubert fit into the theme but we were very happy to hear them, especially "Der Wanderer" and "Du bist die Ruh". For some reason, they alternated with songs by Rudi Stephan who composed a century later.  We found Stephan's songs to be grim and depressing, but then, war is grim and depressing.

Three glorious songs from Sergei Rachmaninoff restored our mood, especially the seasonal delight "Spring Waters" which seemed just right for the tail end of Winter and the coming of Spring.

Irving Berlin's "Goodbye France" was a swell reminder of how happy people must have been to greet their loved ones returning from the war.  We could use some of that patriotism in the 21st c.! A pair of songs by Ivor Novello followed, not making much of an impression on us, and the program closed with another Vaughan Williams song; frankly, we had heard enough from Williams in the first half of the program, having heard songs #1-8 already!

The encore brought back our optimism with "When You Walk Through a Storm" the inspirational song from Rodgers and Hammerstein's Carousel.

(c) meche kroop

A FLAWLESS LIEDER RECITAL AT WEILL RECITAL HALL

Ying Fang, super-star soprano (photo by Dario Acosta)

A perfect performance of the kind of music one prefers to hear can totally transform one's mood. The rainy day glum gave way to a sunshine-y kind of joy under the influence of Ying Fang's artistry. With the superlative collaborative pianist Ken Noda, we heard the kind of music that formed the basis for the art song recital.  Happily (for us), no new ground was tilled. We don't go to lieder recitals to be intellectually challenged by obscure texts.  We go to be delighted and emotionally moved. 

Ms. Fang has been the object of our adoration for at least six years. What great fortune for the opera world that Mr. Noda discovered her in Shanghai! Her advanced studies at Juilliard brought her to our attention.  Perhaps the first review was for her Zerlina. We also adored her Susanna. Several appearances in recitals just continued to impress us with her artistry.

It was a coup for Carnegie Hall to snag her for this eagerly awaited recital. Weill Recital Hall was a perfect venue for her intimate performing style. Although she has the physical beauty and fashion sense to come across as a diva, she does not. She commands the stage by virtue of confidence and professionality. She draws us into her world with a nod, a smile, or a well-timed glance.

In programming this recital, she took us to the very roots of lieder, with a few other selections to pepper the tasty stew. Her focused bell-like soprano delights the ear and her lightness of touch seemed perfect for Mozart. She knows exactly what she is singing about and brings out the subtext with subtle artistry. This may be the first time we appreciated the symbolism of a flower that blooms too early, or one that willingly sacrifices itself for love.

Mozart's melodic magic was everywhere evident and his abrupt shifts from major to minor were strongly delineated by Ms. Fang and the very present Mr. Noda. The German text was clearly enunciated and the word coloration conveyed every nuance, amplified by Ms. Fang's expressive face.

This made us think about the artifice of the lieder recital. The preparation is intense but the performance must seem spontaneous and natural. 

The sets alternated between Mozart and Schubert, who came along a generation or two later, but seemed to have composed with Mozart whispering in his ear and guiding his pen. If only one of them could return to earth and guide the pens of today's composers! That they both chose wonderful texts, texts that rhyme and scan, like those of Goethe and Müller, surely affected the flow of melody and phrasing. Ms. Fang and Mr. Noda seemed totally tuned into these aspects and gave each text apposite phrasing.

We loved the sweet and happy songs like Mozart's "Un moto di gioia" and "Ruhe sanft, mein holdes Leben",  an aria from his unfinished opera Zaide. We had similar pleasures from Schubert's passionate "Ganymed". But there were other emotions to hold dear, like the angry "Als Luise die Briefe" by Mozart, and Schubert's wistful "Im Frühling".  But our most profound feeling came from Mozart's "Abendempfindung" which brings tears to our eyes when it is well performed.  It was and it did!

Mr. Noda's artistry always impresses us.  Last night we loved the hymn-like prelude to Schubert's "Im Abendrot" and the rocking piano which gave "Nacht und Träume" the feel of a lullaby.  There was plenty going on in the piano part of "Viola" and we observed how deeply the two artists listened to one another and reflected upon each other. This lengthy lied comprises multiple moods and varied tempi.

For opera lovers, we had Susanna's final aria from Mozart's Nozze di Figaro, a role in which we have enjoyed Ms. Fang's performance. Without excess, she subtly let us know that Susanna was "performing" for her new husband. The wide upward skips were artistically negotiated.

The final work on the program was Mozart's concert aria "Misera, dove son"; the opening messa di voce grabbed our attention and the lavish embellishments reinforced the character's anguish.

Thankfully, we were gifted with two encores, loudly demanded by the capacity crowd--"In trutina" from Carl Orff's Carmina Burana (sung in Latin), and Rachmaninoff's "The Dream". We could say that the entire evening was like a dream come true!

(c) meche kroop

A STAR IN THE MAKING

Pavel Suliandziga

We hear such a plethora of talented young singers every month and it is sad that only a few will achieve their career goals.  Having witnessed the meteoric rise of several that we started writing about when we began blogging in 2010, we would like to think that we have isolated a few qualities that destine some for major careers.

It goes without saying that a beautiful instrument is a great start. It seems obvious that superb instruction in the learning period and good management at the start of a professional career are both vital. Winning competitions is a good addition to all this, although we have observed some major careers launched without this feature. 

We see "humble bragging" on Facebook as a positive impetus, if the singer makes regular appearances online about their engagements, giving credit to colleagues, costumers, and directors. It's a challenge to make this sufficiently interesting that we keep them in our "feed"!

But there is a special quality we can describe but could scarcely name. A true artist draws us into an opera by inhabiting the character so that we experience a scene from his/her point of view. When James Morris sang Wotan, we were on his side. A lesser Wotan allowed us to take Fricka's part.

Similarly, in a lieder recital, the true artist feels the text and sees what the poet describes. He/she conveys this to the audience and we see through the singer's eyes. We see the valley stretched below the mountain on which he sits.  We experience the distance felt by the poet. We hear the birdsong or the rushing of a stream through his/her ears. The singer is our guide through strange territory.

To date we have reviewed tenor Pavel Suliandziga a total of six times.  Each time we have been swept along in a tide of experience. We have written about his Nemorino two years at Mannes College and his Ferrando one year ago and the interpretations were first rate, showing us subtleties about the characters that were new.

Last summer there were two IVAI recitals in which he performed Tamino in a scene from Mozart's Die Zauberflöte and Tybalt from Gounod's Romeo et Juliette. We also heard him sing some Russian folksongs.

Yesterday we were fortunate to attend his graduation recital as he has earned a degree in Professional Studies under the tutelage of famed voice teacher Arthur Levy; this goes beyond the Master of Music degree previously earned. Hearing him perform lieder was a new experience and only enhanced our appreciation of his artistry and affirmed our belief in his promise.

Mr. Suliandziga possesses one of the sweetest tenors we have ever heard, one which caresses the ear; he employs it skillfully with all manner of dynamic control and meaningful phrasing. He knows what he is singing about!

The first half of the program was sung in German. Consonants were crisp but without exaggeration and the vowels were never cheated. Every word was comprehensible.  Beethoven's  song cycle An die ferne Geliebte, comprises six songs of separation and was filled with sehnsucht and tenderness. The mood was sustained during the interludes. The major/minor shifts were beautifully realized. There was a splendid spin on the held notes.

Collaborative pianist Miriam Leskis was with him 100% and we loved the way the phrases echoed back and forth from voice to piano.  Our only complaint was the use of the music stand.  Yes, we realize that this is a very long piece, but the subsequent Schubert lieder were short and the music stand remained in place.

"An den Mond" is a lovely song and Ms. Leskis' piano gave us arpeggi that we associate with Beethoven's Moonlight Sonata. Perhaps Schubert was inspired by it. In "Du bist die Ruh" we were dazzled by a highly effective messa di voce.

Thankfully, the music stand was banished for the memorable "Dein ist mein ganzes Herz" from Fran Lehar's Das Land des Lächelns, which we so enjoyed seeing at Manhattan School of Music last year. Being "off book" allowed Mr. Suliandziga to fully communicate with the audience the passion of this glorious song.

The second half of the program was entirely Russian. Since the titles were in Russian and there was no translation to English of title or text, we were at the mercy of the artist's interpretive skills. In point of fact, the emotions and situations came through clearly.

There were four wonderful songs by Glinka, father of Russian music, the first of which we heard last week at Juilliard "Ya pomnyu chudnoe" which translates roughly to "I remember that magical moment". In this song, the poet Pushkin consoles himself in a state of grief with a memory of a woman from his past.

In "Bedny pevets", the sadness that was communicated involved the lost hopes of a man disappointed in love. The sad songs were interleaved with joyful ones. "Ya zdes, Inezilya" was a playful serenade that brought to mind Rossini's lively music. And "V krovi gorit" was composed in waltz rhythm with a lively "oompah" in the piano.

Of the three songs by Tchaikovky, the only one we recognized was "Sred shumnogo bala" with a lovely text by Tolstoy, which also deals with a fond memory of a mysterious woman. "Mi sideli s toboy" is a regretful song about a lost moment in which a man was unable to make a declaration of love  during an intimate moment. He lost the girl.

"To bylo ranneyu vesnoy" spoke to rebirth and renewal and was given an earnest delivery. We would gladly have stayed for a repeat of both the Glinka songs and those by Tchaikovsky!

We also heard two folk songs. The first was a frisky one in which a boy is trying to get the girl by making promises. The second one was one of longing for the homeland. We hope Mr. Suliandziga does not suffer too much from homesickness. We want him to stay in the USA! We are not the only one to appreciate his gifts. The applause was thunderous and Mr. Suliandziga has already received several offers--all well deserved!

(c) meche kroop