A MUSICAL POWER COUPLE

Ahmed Alom and Rosario Armas

We searched our brain for words to describe an artistic partnership that is more than an artistic partnership. When you take an unusually gifted mezzo-soprano and put her onstage with her equally gifted conductor/pianist husband, the musical consequence is more than transporting. We apologize for our clumsy attempt to represent the love and connection between Mexican  Rosario Armas and her Cuban husband Ahmed Alom by juxtaposing two photos. The two speak the same language as well as the same musical and emotional language.

The occasion for sharing in this love fest was the final concert of The Washington Square Music Festival, of which Mr. Alom is the Musical Director. The concert was held at St. Mark's Church-in-the-Bowery and drew a standing room only crowd of music lovers. Beside our favorite musical couple, The Festival Chamber Orchestra was on hand, about which more later.

The part of the program that best expressed the mutual affection of this darling couple was a set of songs by Clara Schumann who, as is widely known, defied her strict parents to marry the famous Robert Schumann, whose output of art songs was stimulated by his adoration for Clara. We wish that more vocal concerts would include her excellent songs and felt grateful that Ms. Armas gave them the attention they deserve. 

The passionate "Er ist gekommen in stürm und regen" was followed by Clara's  gentle setting of "Liebst du um Schönheit" (also set by Gustav Mahler) and "Warum willst du and're fragen".  Ms. Armas' instrument has both depth and breadth and remained even throughout the entire register. The tone quality was moving in its varied emotional coloration and the vibrato was just right for the material.

Mahler was not to be neglected. His Lieder eines fahrenden Gesellen rivals Schubert's Die Winterreise in its depiction of the agony of lost love. No doubt, Mahler's wife Alma and her constant stream of lovers inspired this painful song cycle. The singer must convey  the many shades of sorrow, disappointment, rage, and failed attempts to rise above it all with an assist from the natural world. This was brilliantly achieved by Ms. Armas with Mr. Alom echoing the feelings every step of the way. We were fighting back tears throughout and hoping that the artists will never ever have to experience such pain!

The final vocal event on the program consisted of a song cycle Canciones de la Muerte op.20  by Julián de la Chica, a living composer with whom Ms. Armas has frequently worked. It is quite an honor to participate in an orchestral world premiere and the sonorities captured by the orchestra were various and often pungent. However, we found the death-oriented text by Padre António da Ascençao (translated from Portuguese into Spanish by the composer) to be too solemn, grim, and ponderous for our taste.

Also on the program was Johann Sebastian Bach's Brandenburg Concerto no. 5 conducted from the piano by Mr. Alom, who achieved a lively and concise reading. For our musical tastes however, we preferred Debussy's Prelude à l'après midi d'un faune for its dreamlike exoticism. The introductory flute solo was beautifully handled by flutist Sheryl Henze who was joined by clarinetist Mitchell Kriegler.

It was a lovely well-balanced and varied program. The memories we will take away, however, will be that of the lovely attunement of Ms. Armas and Mr. Alom!

© meche kroop

CLARA AND ROBERT

Brian Zeger, Keshav Moodliar, Chance Jonas-O'Toole, Libby Sokolowski, Chris Reynolds, Lauren Norvelle, Jessica Niles, Kyle Miller, and Erin Wagner

Last night at Alice Tully Hall, Juilliard presented one of their Songfests, an occasion we never miss. The program, curated by world renowned collaborative pianist Brian Zeger, who just so happens to be the Artistic Director of the Marcus Institute for Vocal Arts at Juilliard, was one of enormous value for several reasons.

Primarily, we were impressed by the concept of presenting the lives of Clara and Robert Schumann in a theatrically valid way, involving dramatic readings of their letters interspersed with songs that were related to that particular period in their romance. This shed new light on the songs and affected us in a new way.

Clara's letters were brought to vivid life by recent Juilliard graduate Lauren Norvelle who was most remarkable in expressing the young Clara's childhood infatuation with Robert. She was but a pre-teen prodigy when Robert fell deeply in love with her. It was a long courtship since Clara's father was vehemently opposed to the match, even though Robert had been his student; the two were obliged to wait 9 years for Clara's 21st birthday to wed.

Robert's letters were read by Keshav Moodliar, also a Juilliard drama student who keenly expressed Robert's youthful extravagant expressions of love.

Previously known for his piano compositions, 1840 brought forth a torrent of lieder, filled with joy. Apparently, years of separation had made his heart fonder and fonder; the consummation was therefore amplified by the power of ten. Anyone who has yearned for an impossible love will recognize this phenomenon.

The opening duet of the program "Er und Sie" was performed by soprano Jessica Niles and tenor Chance Jonas-O'Toole; the subtle dynamics, the sweet voices, and the blended harmonies successfully expressed the joys of mutual love. The boughs of "Der Nussbaum" inclined their delicate heads to kiss in sincere symbolism, tenderly sung by soprano Libby Sokolowski. 

Symbolism was not necessary in "Intermezzo, Op. 39, No. 2" which speaks openly of the singing of the heart. Baritone Kyle Miller gave it a lovely interpretation.

Mezzo-soprano Erin Wagner expressed a woman's youthful infatuation in
"Seit ich ihn gesehen" from Robert's song cycle Frauenliebe und Leben and later she sang of the joys of sharing pregnancy with "Süsser Freund" from the same cycle. Indeed, the Schumann's would have eight children!

"Widmung", so passionately sung by Mr. Miller, was composed as a wedding gift for Clara and Mr. Miller allowed the song to grow in intensity and passion.

Of course, as we all know, there is no "happily ever after" in real life and Robert's early enthusiasm became increasingly manic and his low periods became increasingly black. Unfortunately, in the early 19th c. there was no effective treatment for mental illness and poor Clara was left to cope with a large family, all the while championing Robert's music, performing at the piano, and composing.

The first time we heard her "Liebst du um Schönheit" we thought of it as having been surpassed by Mahler's setting. However, the more we hear it the higher it grows in our estimation and Ms. Niles gave it a lovely performance.  She was similarly effective in Clara's "Er ist gekommen" which seemed filled with anxiety. We heard a sense of loss in Clara's "Ich stand in dunklen Träumen", finely performed by soprano Libby Sokolowski.

Schumann's compositions toward the end of his life are dark. Listening to Mr. Miller's performance of "Der Spielmann" we can take the Hans Christian Andersen text (translated by Adelbert von Chamisso) as more than usually meaningful. "It's hideous for a man to die in this way, When his heart's still young and striving for joy" and "Let none of us go mad: I too am just a poor musician". We can only wonder what kind of visions and hallucinations troubled the unfortunate musical genius. Similarly, we can only wonder what his artistic output might have been if treatment had been available.

We were sitting close enough to the stage to feel as if we were participating in a salon at the Schumann's home. Singers and actors were all onstage together; it was a highly effective way of presenting the music. Mr. Zeger shared the accompanying duties with the super-talented Chris Reynolds. It was an altogether worthwhile evening that fulfilled both as theater and concert.

© meche kroop

LONDON'S LOVELY LADIES

Ken Noda, Julie Adams, and Emily D'Angelo

After two weeks of operas about women being suppressed and abused it came as quite a relief to enjoy a George London Foundation recital in which two women made a strong showing of artistry and presence. Soprano Julie Adams and mezzo-soprano Emily D'Angelo have no qualms about showing both beauty and strength. We couldn't have imagined a better recital, well worth the soaking we got from yet another rainy day.

The big surprise was how Ms. D'Angelo's artistry surpassed our inherent dislike of American 20th c. songs. We have suffered through Copland's settings of Emily Dickinson's poetry on a few occasions and we were not expecting to be so drawn in. But, there it is! True artistry can bring out hidden qualities in anything. (We are thinking of how Moroccan Cauliflower Soup changed our mind about that previously detested vegetable.)

We felt as if this gifted young singer were composing the poetry as she sang it but actually, she was "merely" channeling Ms. Dickinson. Words on a page became experienced reality. "Heart we will forget him" was particularly affecting. She is a true story-teller!

She performed two works about eerie myths in a single set. In "The Seal Man" by 20th c. composer Rebecca Clarke, she related the story of a woman so madly in love that she follows her beloved into the sea and drowns-- quite a metaphor! We preferred Clara Schumann's telling of the tale of "Die Lorelie", probably because we prefer German lieder of the 19th c. better than 20th c. songs in English. The former rhymes and scans; the latter is prosy.

Ms. D'Angelo's instrument has a wonderful texture and her artistry has earned awards and recognition including a 2018 George London award. All the ingredients for success are there; it is gratifying to read about the many roles for which she has been chosen.

It take courage to include Schoenberg and Berg on a recital program. The vocal lines are strange to the ear and the text even stranger. And yet she made sense of them with her precise German and apt phrasing.

Nonetheless, our favorite among Ms. D'Angelo's selections was "Sein wir wieder gut" from Strauss' comedy Ariadne auf Naxos. She captured all the enthusiasm of a young composer who recognizes the reconciliation required of this most sacred art.

Ms. Adams is likewise the recipient of many awards including a 2015 George London award; she too has earned recognition for her powerful dramatic soprano which lent itself so well to "Elsa's Dream" from Wagner's Lohengrin. She sang with ardent passion and ringing tone, bringing out the yearning in Elsa's character. We loved it!

Lovers of Strauss (and we count ourself in that group) could not help but thrill to her performance of two songs--"Morgen" and "Beim Schlafengehen". Both songs are of a peaceful nature, the first one a shared peacefulness, and the second one a solitary peace. In "Morgen" we realized we were holding our breath! At the word "stumm", her coloration and diction took us into a new place. The violin accompaniment by David Chan echoed the vocal line to great effect.

And look how she interpreted a pair of songs by Rachmaninoff! We generally expect "Ne poy, Krasavitsa" to be sung by a man so it was an interesting choice. It is so filled with Russian soul that we could feel the pain in our heart. We love the way the piano echoes the Oriental mode of the vocal line and vice versa. In "Son" we enjoyed the dreamlike rippling in the piano. This seems like a good place to tell how much we appreciate Ken Noda's playing, about which we will have more to say further along.

Grieg too wrote about a dream. In "Ein Traum" the dreamer's dream becomes reality and what passion we heard in Ms. Adams' coloration! This set of songs included some low lying passages but this did not daunt our singer, not even in the regret filled "Zur Rosenzeit".

We were thinking how perfect the recital would have been had there been a duet. Lo and behold, these two lovely ladies provided an encore that was the perfect cherry on the sundae--"Belle nuit" from Offenbach's Contes d'Hoffman. We had just heard it Friday night but would be happy to hear it again tomorrow. The harmony of the two contrasting voices was delicious and it didn't hurt that these two ladies looked the parts they played. There was shapely Ms. Adams with flowing blond locks, very believable as an enchanting courtesan; and next to her the stately Ms. D'Angelo with her short hair and androgynous attire, looking like a young student.

We could end here on a high note, so to speak, but we would be remiss not to say more about the superb violinist Mr. Chan who opened the program playing the "Allegro vivo" from Debussy's Sonata in G minor. We know very little about violin technique but we know artistry when we hear it and noticed how similar the violin is to the human voice in terms of dynamics and phrasing. Both Mr. Chan and Mr. Noda began with a delicate touch that quickly swelled into passion. Mr. Noda's piano produced purling figures to accompany and support the wordless voice of the violin.

The two instrumentalists were even more impressive in the "Méditation" from Massenet's Thaïs in which the violin sang its secrets supported by some gorgeous arpeggi in the piano. We love the way tenderness gave way to passion.

What an exceptional concert! We love the fact that the George London Foundation supports these young singers at the early stage of their careers and then invites them back a few years later so we can assess their growth. We love witnessing promise becoming perfection!

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A FRENCH GERMAN NIGHT AT ST. JOHN'S IN THE VILLAGE

Emma Lavandier, Eric Sedgwick, and Katrin Bulke

St. John's in the Village is rapidly becoming one of our favorite venues for recitals. Rector Graeme Napier is a fellow music lover and keeps his lovely sanctuary filled with music. Last night's musical offering was a lovely recital performed by soprano Katrin Bulke and mezzo-soprano Emma Lavandier, accompanied by the excellent collaborative pianist Eric Sedgwick. We have enjoyed all three artists on prior occasions and you will find several reviews of each by entering their respective names in the search bar, in which we described their respective vocal gifts.

What was particularly attractive about last night's recital was hearing French sung by a native French speaker and hearing German sung by a native German speaker. Mr. Sedgwick speaks perfect piano!

Another appealing aspect of the recital was the presence of many duets. The more duets we hear the better we like them. They seem to add up to even more than the sum of their parts as overtones meet overtones and create ear-tickling delights.

Take for example the duet between Giulietta (Ms. Bulke) and Nicklausse (Ms. Lavandier) from the Venice scene of Jacques Offenbach's only opera Les contes d'Hoffman.This Barcarolle always makes us smile and sway in our chair.  Quelle belle nuit! 

The "Flower Duet" ("Dôme épais") from Léo Delibes' Lakmé has transcended its popularization and remains one of the most gorgeous duets in the canon. To enhance the performance, the two singers entered together and somehow managed to create the verdant scene without any sets whatsoever.

From Richard Strauss' delightful comic opera Der Rosenkavalier we enjoyed the scene in which Octavian (Ms. Lavandier) presents a silver rose to Sophie (Ms. Bulke) and the two fall in love. The acting added to the singing and there was an actual silver rose which you can see if you look at the carousel of photos on our Facebook page, Voce di Meche.

Another charming duet was that between Hänsel (Ms. Lavandier) and Gretel (Ms. Bulke)--"Brüderchen, komm tanz mit mir" from the Humperdinck opera; both singers performed the dance together and we were smiling from ear to ear.

Even the encore was a duet, but one manufactured for the occasion. Ms. Bulke let loose with "The tipsy song" from Johann Strauss II's operetta Eine nacht in Venedig; the song is otherwise known as the "Annen-Polka" and is filled with clever rhymes like "prickelt und kitzelt"; if that doesn't make you chuckle there is something wrong with you! Meanwhile, Ms. Lavandier sang "Je suis grise" from the Offenbach operetta La Perichole. Performers just love to portray intoxication but there aren't many such arias written for female voices. If you can think of any, dear reader, please leave them in the comment section below.

Another special aspect of this recital was that each singer introduced her song and told what it was about. Each singer got to do a military number, which was cute. Ms. Bulke sang Marie's aria "Salut à la France" from Donizetti's charming comedy La fille du régiment and Ms. Lavandier performed "Ah! Que j'aime les militaires" from Offenbach's 1867 operetta La Grande-Duchesse de Gérolstein which we so enjoyed at the Santa Fe Opera in 2013 with Susan Graham in the title role.

There were other more serious pieces on the program, some of which were marred by the use of the detestable music stand. Readers are probably bored by our complaints so the less said the better. Suffice it to say that our attention wandered which gave us an opportunity to focus on the piano, so beautifully played by Mr. Sedgwick.

We enjoyed his playing even when the singer was totally present as was Ms. Bulke in some songs by the underappreciated Clara Schumann. He surely created the storm in "Er ist gekommen in Sturm und Regen" with some roiling in the piano but also provided some delicate arpeggi when called for.

It was an evening well spent in the presence of three fine artists.

(c) meche kroop

HERstory by CITY LYRIC OPERA

Kanae Matsumoto, Cristina Maria Castro, and Kathleen Spencer

We have come to count on City Lyric Opera to sate our voracious artistic appetite. Co-founders and Artistic Directors Kathleen Spencer and Megan Gillis have managed to create a viable artist-centered company that not only serves the artists and entertains the audience but also provides some very appealing opportunities for supporters and donors. What a thrill it can be to sponsor a singer or the orchestra, the venue or the artistic staff. Here, one can truly feel a part of the production. Opera is expensive but these two lovely ladies appear to have a great business sense and have attracted a loyal following in just three years. Viva les femmes!

Last night's salon evening was held in a glamorous apartment overlooking Lincoln Center and was generously hosted by a charming couple newly making their home in the Big Apple. A crowd of beautiful people gathered to make new friends, partake of a particularly generous buffet accompanied by fine wines, and--most importantly--to welcome several young singers who gave their all to the music.

Regular readers will recall how disdainful we are of contemporary American song that utilizes boring text and cannot seem to come up with a pleasing melody. We were delighted to have our prejudice exploded, at least for one contemporary American composer by the name of Lori Laitman who was present at the salon and received all the accolades that her work merits.

With scintillating soprano Cristina Maria Castro taking the soprano part and the vivacious Ms. Spencer herself taking the mezzo-soprano part, we thoroughly enjoyed "I am in need of music" with text by Elizabeth Bishop from the poem "Sonnet" written in 1929. The text flowed and so did the music. The two voices intertwined in gorgeous overlapping phrases; we were enthralled.

We wish we could say the same about the two Sheila Silver songs which were settings of text by Edna St. Vincent Millay from "Beauty intolerable". We thought that soprano Rachael Braunstein gave them a lovely performance but that the poems did not seem to need music and the music they were given was rather jazzy and overwhelmed the vocal line.

On the other hand, Heinrich Heine's "Die Lorelei" seemed made to be sung and apparently, several composers agreed with me including the underrated Clara Schumann. Soprano Alaysha Fox, a young lady full of personality and warmth, gave an impressive performance of this story-telling song. Ms. Fox is a Metropolitan Opera National Council finalist and we simply cannot wait to hear her on March 31st.

We also enjoyed her performance of Amy Beach's "Ah, love, but a day" with text by Elizabeth Barrett Browning. The piano writing is quite lovely and never overshadowed the vocal line, although we think it would be difficult for anything to overshadow Ms. Fox! She invested this lovely song with varying vocal colors and brought it to a powerful climax.

Ms. Castro was particularly elegant with her French in three songs by Lili Boulanger who died tragically at the age of 24. (Lili was the younger sister of the famous composer and teacher Nadia Boulanger.) Not only did Ms. Castro honor the long Gallic vocal line but exhibited beautiful overtones. The three songs, as she explained, addressed three stages of romance, reminding us a bit of the three different moods of Debussy's Songs of Bilitis with their three different colors.

The superb soprano Maria Brea performed two songs from Ms. Laitman's Five Lovers, settings of autobiographical poems by Jäma Jandroković. The text referred to various lovers the poet enjoyed after her divorce.  Judging by the text, she did enjoy them! "On meeting again" was delicate and wistful, whereas "Lovely in his bones" was lively and enjoyed a feeling akin to Jobim's "The girl from Ipanema".

Ms. Brea's generous soprano brought the evening to a brilliant close with Maria Grever's romantic "Te quiero, dijiste", the words of which will make any woman weak in the knees. The song was delivered with full-throated passion but ended on an exquisitely floated final note.

It was a perfect way to end a female-centric program. Among the female singers, composers, and poets, only Heinrich Heine stood out as the lone male. But his poem was about a woman so we will admit him to the sisterhood!

(c) meche kroop

MULTI-LINGUAL ARTISTRY

Allen Perriello and Joélle Harvey

At a time when vocal recitals are becoming increasingly scarce, we lovers of classical voice can count on Carnegie Hall, which presents vocal recitals in all three halls--Stern, Zankel, and Weill.  We are particularly fond of the series at the intimate Weill Recital Hall which facilitates the intimate connection so necessary for the appreciation of art songs.

Last night's recital was satisfying on many levels, introducing us to a soprano of distinction whom we had never heard before, although she is well known as a recitalist and in symphonic works with vocal movements.  Joélle Harvey is particularly recognized for her Mahler and we wish there had been some Mahler on last night's program.

What struck as about Ms. Harvey was her bright tone, the clarity of her diction, and her facility with languages. Indeed, we heard her in English, German, French, Italian, and what we took to be Norwegian. Actually, we are not familiar with the Scandinavian languages but since Edvard Grieg was Norwegian, it's a good guess. The program spanned the Baroque period right through to the contemporary one for which we lack a title.  Perhaps "Post Modern" will suffice.

The program opened with a set of songs by Henry Purcell, England's most famous composer for the voice. We don't believe anyone has matched his ability to choose good text in English (can't go wrong with Shakespeare!) and to amplify the text with singable melodies and pleasing harmonies.

However, our favorite of this set was "Sweeter than roses", the text of which is declared to be "anonymous". The text gave Ms. Harvey the opportunity for maximum variety of tempi, dynamics and word coloration. We loved the passion and the ardent melismatic passage.

A set by Mozart reminded us that Mozart could bring out the beauty of texts from any language. "Ridente la calma" is always a pleasure and Ms. Harvey brought out the beauty of the Italian vowels. "Oiseux, si tous les ans" was charmant and sung in fine French. The long legato lines persisted through the German lied "Die Zufriedenheit" which bears a lovely message of contentment. "Die kleine Spinnerin" was new to us and we would have enjoyed it more if Ms. Harvey had differentiated between the voice of the spinning girl and that of the young fellow importuning her.

The singer's German was even crisper in four songs by Clara Schumann which were our favorite part of the recital. We are always overjoyed to hear her songs in recital and particularly "Liebst du um Schönheit" which is refreshingly different from the Mahler setting, perhaps more tender and less exuberant. "Die stille Lotosblume" had some lovely dynamic variety and a wrenching change to the minor mode.

A set by Edvard Grieg focused largely on nature and Spring. Although we liked the sound of Norwegian our favorite song was "Osterlied" sung in German. "En fugelevise" limned a strange and beautiful scene between two lovers who would never see each other again for unexplained reasons. With a text by Ibsen, one could just imagine!

The song cycle Vanitas by contemporary composer Michael Ippolito did not enchant us vocally for the usual reasons. None of the poetry seemed to want to be set.  "Quivered out of decimals", "degreeless noon", and "decades of arrogance" are just three examples of phrases that seemed unmusical to us. The one song that seemed interesting was "A Feather" with Gertrude Stein's nonsensical text leading to some clever vocal effects.

Although Mr. Ippolito is a long-term friend of Ms. Harvey's, we did not find his vocal line interesting or even kind to her voice.  As usual our attention wandered to the piano and we realized that Mr. Ippolito writes very well for the instrument. Collaborative pianist Allen Perriello, so accurate, straightforward, and supportive during the entire recital, was given a chance to play Mr. Ippolito's highly original composition with style.

We were glad that the encore was tuneful. It was "Remember Me" by Kristen Anderson-Lopez and Robert Lopez from the Disney film Coco. Apparently, popular song writers known how to craft a tune! Ms. Harvey sang it with personal involvement.  It was lovely!

(c) meche kroop

HYESANG SANG

Brian Zeger and Hyesang Park

Hyesang sang and oh how she sang! Up and coming soprano Hyesang Park gave a transporting recital last night at Alice Tully Hall.  This was the 21st Alice Tully Vocal Arts Recital, established originally with a gift from the Alice Tully Foundation to promote exceptionally talented Juilliard singers on the threshold of a professional career.  This recital had been postponed due to illness and, in the intervening period, this incredibly talented artist has crossed the threshold with engagements all over Europe.  It was a recital well worth the wait.

Ms. Park illuminates everything she sings with her crystalline instrument and her engaging stage presence. There are a couple of interesting qualities which set her apart. One is the self-effacing manner in which she invites the audience into the songworld. The other is the way she sets up the song with an intense but brief period of introspection. You can almost feel the emotional wheels turning.

There is another aspect worth mentioning. Ms. Park's taste in fashion is as keen as her taste in programming. No fashion show could have dazzled the eye more successfully. In the first half of the program this beautiful young lady wore a dress of midnight blue with tiny scintillating "stars"; we called it "celestial". After the intermission she appeared in a gown that recalled a blooming flower.  We know that it's the voice that counts but it doesn't hurt to delight the eye at the same time!

And now, as to the music!  It was a totally satisfying recital with piano collaboration provided by the estimable Brian Zeger who doesn't need our encomia. His playing is always supportive and there is no whiff of "showmanship". He certainly knows how to avail himself of the acoustics of Alice Tully Hall and ended many songs in a trailed off decrescendo that left the final note hanging in the air whilst we held our breath.

Ms. Park knows how to work her prodigious skills such that they become art. Every song was given her full involvement. Phrasing always honored the intent of poet and composer. Exquisite control of dynamics lent variety and she used every color on her vocal palette.

The program opened with five songs by Clara Schumann whose modest oeuvre we wish would appear on more programs. We particularly enjoyed hearing how originally she set the familiar "Liebst du um Schönheit", the Rückert text which was later set so differently by Gustav Mahler. We have heard it before but as it grows in familiarity, we increasingly appreciate Schumann's peaceful version. 

Not so peaceful was Rückert's "Er ist gekommen in Sturm und Regen" in which both artists created a storm of passion. Yet, our favorite was "Die stille Lotosblume" (text by Emanuel Geibel) with its meditation on mortality, symbolized by the singing swan.

A set of four songs by Gabriel Fauré brought yet further delights. We loved the Gallic sweetness of "Nell" (text by Leconte de Lisle) and the meditative quality of "Au bord de l'eau" (text by Sully Prudhomme). These songs were new to us but the two with text by Paul Verlaine are well known--"Mandoline" and "Clair de lune".  With a great artist like Ms. Park, an aural portrait is painted, one that reminds us of paintings by Fragonard.

Reynaldo Hahn composed around the turn of the 20th c. but his compositional style often looks backward, as in our favorite "À Chloris" with its baroque turns. We found Ms. Parks' French to be quite lovely.

After intermission we were gifted with three Korean songs. We never realized how "singable" this language is. We generally love folk songs for their simplicity and melodiousness. Our favorite of this group was the first --"Milyang Arirang" and Ms. Park gave it some passionate cries and highly expressive gestures. "Bird Song" was highly rhythmic and "Song of Loom" was interesting for the rippling figures in the right hand of the piano, with the left hand crossing over. It certainly suggested weaving to us.

There were also many songs about mothers by varied composers. How pleased we were to hear Ms. Park sing in Spanish! It seems to us that Spanish composers of the 20th c. remained free of many of the 20th c. "advances" that we deplore. We particularly enjoyed Obradors' "Con amores, la mi madre" and Montsalvatge's "Canción de cuna para dormir" which is particularly evocative of time (1940's)and place (Cuba). 

Turina's Poema en forma de canciones gave Mr. Zeger an opportunity to shine solo in the extended opening "Dedicatoria", after which Ms. Park delighted us with three ironic songs "Nunca olvida", "Cantares" which began and ended with a stunning vocalise, "Los dos miedos", and "Las locas por amor". Her acting really put the songs across!

We don't want to leave out Claude Debussy's evocative "Nuit d'étoiles" in which Mr. Zeger's piano created the twinkling of the stars. The text by Théodore de Banville was presented in Rondo fashion with the artists shedding new light on the "refrain" each time it recurred.

After such a generous program, we weren't expecting an encore but we got not one but two. The first was in Korean and the second was "O mio babbino caro" from Puccini's comic opera Gianni Schicchi. No one could have refused Lauretta's imploring!

(c) meche kroop

WINE WOMEN AND SONG

Tami Petty and Michael Sheetz

We know well that the talented Tami Petty won the Joy in Singing award in 2014; we were there and wrote enthusiastically about her gifts communicating the essence of song to the audience. Since that auspicious debut, we have seen, heard, and enjoyed Ms. Petty's gifts a number of times at the Brooklyn Art Song Society and once with The Bohemians. Yesterday we enjoyed her gifts even more at a salon graciously hosted by one of Joy in Singing's devoted members.

Perhaps it was the intimacy of the surroundings or perhaps Ms. Petty has been working on her English diction because we got every word of her English--the only quibble we had four years ago.

The theme for the afternoon put women composers front and center. We had just heard Clara Schumann's "Liebst du um Schonheit" Friday night and wrote how it shouldn't take second place to Mahler's setting. Ms. Petty's performance reinforced our belief. The luster of her instrument and attention to detail in the phrasing were amplified by gesture and facial expression. We want to hear this song again and again!

Ms. Petty's German ist perfekt and served her well in Alma Mahler's "Ich wandle unter Blumen", another lovely entry in the female composer sweepstakes.

We heard some lovely French as well and always admire a singer who can switch gears for each language. Regine Wieniawski (Poldowski) set Paul Verlaine's  "L'heure exquise" in 1917, a quarter century after Reynaldo Hahn did so --another tempting pair for Mirror Visions Ensemble. The two settings are different but equally lovely. The start is delicate but Ms. Petty opened up her sizable voice whilst collaborative pianist, known mainly through his work with Classic Lyric Arts, put forth some lovely arpeggi.

Cecile Chaminade's songs were popular in her time--all 125 of them!  There were clubs celebrating her oeuvre right here in the USA. Yesterday we heard the delightful "Ecrin" which was performed in a most flirtatious manner. The French was crystal clear but one got the message even if one didn't understand the language.

Pauline Viardot's "Madrid" was written for the mezzo fach but that didn't stop Ms. Petty who conveyed the high spirited vocal line whilst Mr. Sheetz conveyed all the flamenco inflected accompaniment. We loved it!

The remainder of the songs were in English but that didn't stop us from enjoying them! Amy Beach's "The Year's at the Spring" was familiar to us but "Take, O Take Those Lips Away" was new to us.  Clara Edwards' "Into the Night" was filled with longing and quite lovely.

Liza Lehmann's  "Evensong" was seriously sentimental but her "There are fairies at the bottom of our garden" is filled with sly humor and Ms. Petty used just the right amount of camp, to the delight of the audience.

We even got to hear Mr. Sheetz perform Fanny Mendelssohn's "Pastorella" which reminded us of "Lieder ohne Worte" inasmuch as we were writing words in our head!  Indeed, Fanny probably wrote a lot of music that got passed off as her brother's because of restrictions enacted upon women by society and their families.

A fun aspect of yesterday's salon was that different guests were selected to read a brief bio about each composer. So many women composers were prevented from performing; others composed out of financial necessity.

As encore, we got "SHE'S got the whole world in HER hands". We couldn't keep from thinking that Ms. Petty has the world of art song in HER hands! That spiritual never made so much sense! And who can get a song across better than Ms. Petty!

Did you know that Joy in Singing is the oldest art song organization in the USA! Did you now that you too may be eligible to attend one of these intimate salons? We highly recommend the experience.

(c) meche kroop

ANOTHER LINDEMANN TRIUMPH

Petr Nekoranec, Valeria Polunina, and Hyesang in Lindemann Recital

Let's face it.  The Lindemann Young Artist Development Program gives matchless recitals.  Since 1980 they have discovered and developed the cream of the crop of young opera singers and collaborative pianists. Those fortunate enough to be chosen receive a bounty of instruction, coaching, and performance opportunities. The stages of opera houses worldwide clamor for their talent.

Yesterday's recital at the Bruno Walter Auditorium exceeded greatness. It lasted but 75 minutes but the after effects are still with us. A recital like this can leave you totally satisfied, yet wishing it had gone on and on.  Like champagne, even when you've had enough, you still want more!

What impressed us most about these young artists was how distinctive their voices are.  So many tenors and sopranos of today sound alike; it's a special pleasure to hear voices that have unique qualities.

The appropriately named soprano Hyesang Park opened the program with a pair of songs by Purcell--"Music for a While" from Oedipus and "Sweeter than Roses" from Pausanias. This 17th c. British titan knew how to pair text and music; Ms. Park's bright tone produces a visceral effect; we could feel the bones of our middle ear vibrating and tingling.  What an incredible sensation! It is particularly pronounced in the penetrating upper register.

Her English is so perfect that we missed nary a word. Perhaps some credit must go to Patricia Brandt's coaching in English. Not only was the enunciation clear but the meaning behind the words was emphasized by astute vocal coloration. The word "cool" indeed had a chilly sound and "trembling" literally trembled. Ms. Park's expressive face matched her expressive voice such that we really understood the songs. 

Purcell wrote some gorgeous melismas that took on the character of vocalises. The vocal fireworks of the fast section were exciting as could be.  It was great to hear this artist go from legato lyricism to rapid-fire embellishments.

Five songs by Clara Schumann followed, which involved some warm colors of regret and nostalgia. Rückert's romantic text "Liebst du um Schönheit" was set by her long before Mahler set it. We have always loved Mahler's setting but there is no reason to overlook Clara Schumann's version. Clara's style is not so different from her husband's and we hear the same attention to a singable vocal line and wonderful piano writing.

Collaborative pianist Valeria Polunina created quite a storm in "Er ist gekommen" and some delightful echoing effects in "Das ist ein Tag".

The program also included a charming pair of songs by Reynaldo Hahn who managed to keep melody alive into the 20th c.! "A Chloris" and "L'Enamourée" are graceful songs and Ms. Park sang them simply, creating a dreamlike mood. The effect was that of letting the songs speak for themselves.

Tenor Petr Nekoranec has an equally distinctive sound; we don't know how to describe it except "texture". It sounds rich and multidimensional. The last time we heard Mr. Nekoranec we loved his voice but not the material. Yesterday we were over the moon about his choice of material. Antonín Dvorák wrote his Gypsy Songs in German and that is how we have always heard them.

However, the composer reset them in Czech and we were amazed at the beautiful sound of the language and how well it integrated with the text. Singing in his native tongue permitted Mr. Nekoranec to immerse himself totally in the many moods of Roma life from wild abandon to deep sorrow. The work fits him like a suit of bespoke clothing. His colorful personality emerged as he gave his all.

We also enjoyed Six Romances, Op. 38 by Rachmaninoff. The partnership between him and Ms. Polunina was particularly striking.  "The Daisies" gives the piano score some lacy filigree whereas "The Pied Piper" has a frisky quality that Mr. Nekoranec augmented with his lively personality. The haunting piano line of "A-u!" brought this superb recital to a memorable close.

We longed for an encore but there was none. We kept wondering what these two unique voices would sound like in a duet. Well, now we have something to anticipate for the future.

(c) meche kroop

A SONG SALON

Marie Marquis, James Bassi, and John Kun Park

We all want the song recital to not just survive but to flourish. But this intimate art form can be less than thrilling when performed in a large hall with its consequent loss of intimacy.  In the 19th c. music lovers held salons in their homes with friends gathered around the piano sharing delights that cannot be taken for granted in the 21st c.

Never fear, lieder lovers!  Joy in Singing to the rescue! Under the guidance and with the dedicated labor necessary, Maria Fattore ensures that we get that intimate experience. A fine Sunday afternoon was spent in the private home of some generous music lovers who hosted a very fulfilling recital.

The program was all about Spring with carefully curated songs to invite us to celebrate a beautiful Sunday, fine for walking outdoors but even finer to come indoors and thrill to some gorgeous music.

This is the third time we have heard Marie Marquis sing and our opinion of her remains at a very high level. We saw her having a high time onstage last Halloween with Heartbeat Opera's Mozart in Space and shortly afterward we were in attendance at her recital as winner of the 2016 Joy in Singing award.

What we remember most was her engaging stage presence and sparkling soprano. This young woman can get inside a song and bring it into your heart. A superb singer can get away without these qualities on the opera stage, helped along by sets and costumes and story line. But conveying the emotional content of a lied, especially in an intimate environment, requires a special personality and Ms. Marquis has it all. After this recital we will think of her as The Songbird of Spring.

She alternated with tenor John Kun Park who also brought a special quality to his song delivery and sang without that tenorial pushing that we often disparage. Both artists introduced their songs and told enough about each so that those who did not understand the language could get the gist of things.

Ms. Marquis opened the program with Gabriel Faure's "L'hiver a cesse" effectively negotiating those treacherous upward skips.  Hugo Wolf's "Er ist's" is a joyful song and she communicated all the joy she felt. Argento's "Diaphenia" is more melodic than most 20th c. music and pleased our ears.

We especially loved Clara Schumann's "Das ist ein Tag, der klingen mag" which makes us wonder why more singers don't program this composer's lovely output more often.

That being said, Ms. Marquis seems just made for Strauss. Richard Strauss' "Das Rosenband" was notable for the brilliance of her upper register and gorgeous melismatic passages.

Of course Johann Strauss, Jr. was not related to Richard Strauss but we also loved Ms. Marquis performance of the lengthy and challenging 1882 "Fruhlingsstimmen", a waltz with lavish coloratura passages. For this complex and very wordy piece, Ms. Marquis was "on the book" but we didn't mind. She even did the last verse in English, although her German was just as fine as her French. The piano of accompanist James Bassi echoed her voice in a most enchanting fashion.

Mr. Park's selections included Wolf's "Fussreise" from his Morike lieder, and we enjoyed this jaunty paean to la belle nature. Henri Duparc's Phydile was given a romantic coloration and plenty of dynamic variety.

We loved the expansiveness of Franz Lehar's "Dein ist mein ganzes Herz" from Das Land des Lachelns.  It was sung ardently but well modulated.

Gerald Finzi's "It was a lover and his Lass" (text from Shakespeare's As You Like It) was such fun with its "Hey nonny no" and this just goes to prove that good poetry inspires good music. Mr. Park enjoyed singing it as much as we enjoyed hearing it!  The mood was a little quieter for Wolf's "Im Fruhling" in which Morike's text takes a contemplative turn as he reflects on the indefinable sehnsucht that Spring can arouse in us.

Richard Strauss' Allerseelen is not, strictly speaking, a Springtime song. It refers to the Day of the Dead on November 1st. But the text refers to a beautiful memory from May, so we'll take it, especially since it was so passionately sung by Mr. Park.

We also heard a delightful piano solo from Mr. Bassi--a mashup of Schumann and Hammerstein!

If there is Joy in Singing, there is also the counterpart--Joy in Listening. There was plenty of joy to go around and we are eagerly awaiting news of interesting developments in the works for this esteemed organization.  In the meanwhile, if you have a tax refund looking for a home, consider a tax-deductible donation...www.songsalon.com.

A BEAUTIFUL PERSSON

Malcolm Martineau and Miah Persson at Zankel Hall (photo by Fadi Kheir)

What is a recitalist to do when her vocal partner becomes indisposed?  Soprano Miah Persson was scheduled to give a recital with baritone Florian Boesch who was indisposed. We were not there behind the scenes to tell you how it went but we were in the audience in Zankel Hall and witnessed the end result. There was a revision in the program and in exchange for what we missed, we heard a lovely program from soprano Miah Persson who looks as beautiful as she sounds. One is not supposed to notice things like a singer's physical beauty but we confess it certainly adds to the experience.

Ms. Persson focused her program on songs by Schumann and was able to perform Frauenliebe und Leben in its entirety, a far better enterprise than singing excerpts. We love this cycle and never tire of it. We are always tuning our ears into the changes in a woman's life cycle and if Adalbert von Chamiso's text sounds sexist in our day and age, we care not a whit. It is fine for us to recognize how women's lives have changed and if 19th c. women derived their sense of self from the man that chose them, well, that's okay with us.

What we do miss, however, is what happened between the birth of the subject's baby and the husband's death.  Perhaps he died prematurely but, never mind, it's a wonderful cycle and we hope we never have to hear it sung by a man!  (LOL). Last night, Ms. Persson gave it all she had, and what she had was substantial. She captured the bedazzlement of a young woman meeting someone considered beyond her reach; she limned the incredulity of being chosen; she illustrated the call to maturity brought upon by her engagement followed by the excitement of the wedding which she shared with her sisters, whose childhood games she would leave behind.

Pregnancy brought new joys and the ecstasies of motherhood were beautifully captured; we cannot recall a more authentic performance of the phrase "Du lieber, lieber Engel, du, Du schauest mich an und lachelst dazu!" but it sounded so real that we wondered whether Ms. Persson has experienced motherhood herself.  Likewise, we felt all the mixed emotions one feels when a life partner dies--there is anger at being abandoned, mixed with the grief of loss, and the feeling that life (at least as one knows it) has ended.  Ms. Persson's effective coloring succeeded in showing the subject's maturation.

For us, this performance was the highlight of the evening and we greatly admire the manner in which Mr. Martineau gently supported the vocal line and the pathos of the postlude in which he repeats the melody of the first song "Seit ich ihn gesehen". Mr. Martineau has soft hands and a light touch; he is the perfect partner for Ms. Persson. His superb playing never ever upstages the singer and it is only when one submits to the mood of the song that one realizes the magnitude of his selfless contribution. Fortunately, Mr. Martineau had a solo on the program--Schumann's "Traumerei"--in which the silences spoke as effectively as the notes. We have noticed that in singers but rarely in the piano.

There were other wonderful Schumann songs. We particularly enjoyed the ethereal "Mondnacht" with Joseph von Eichendorff's evocative text; Mr. Martineau's prelude and interludes painted some exquisite aural pictures. Friedrich Ruckert's text for "Schneeglockchen" evoked a completely different but charming vision--that of the floral herald of Spring. Schumann had a real feel for Ruckert but Eduard Morike's "Er ist's" filled us with a similar but more passionate anticipation of Spring.

Ruckert's "Der Himmel hat eine Trane geweint" filled us with wonder and also makes us wonder why today's poets are producing such unlikeable poetry, leading to such unappealing settings! We also loved the charming "O ihr Herren" in which a poet, symbolized by a nightingale, seeks a quiet corner for his songs.

Robert's wife Clara appeared on the program as well with the passionate "Er ist gekommen" and the gentle strophic song "Liebst du um Schonheit". Although Mahler set the same text so beautifully, Clara's setting owes no one an apology. The melody remains in one's memory and pleases enormously.

Robert Schumann also set texts by Goethe and his music for "Nachtlied" amplifies the concise but pungent text. 

Mary Stuart's words written prior to her death (translated into German by Gisbert Freiherr von Vincke) did not thrill us like the rest of the program. It was a grim way to end such a glorious recital and we were quite relieved by the beautiful encore which we believe was Edvard Grieg's "Jeg elsker dig" and which we believe was sung in Danish. Please overlook our inability to distinguish one Scandinavian language from another! In any event it lifted our sunken spirits.

As one may have expected from a Swedish soprano, there were six additional songs by the Norwegian Grieg on the program. Grieg was influenced by Schumann and had a vast output, although there are only a handful performed regularly on recital programs. We favored the delightful "Lauf der Welt", sung in German, with Mr. Marineau's frisky piano adding to the fun. Grieg wrote for his wife Nina and the ecstatic "Ein traum" is one of those thrilling songs that deals with love fulfilled.

Fulfilled might be the best word to describe how we felt at the conclusion of this fine recital. If we have failed to mention Ms. Persson's pleasing instrument and her musical phrasing, it is because we were most taken by her artistry as an interpreter.

(c) meche kroop

A WINTER ROSE

Ken Noda and Hyesang Park

It was a cold and nasty late winter day outside, but inside the vast St. Michael's Church on the Upper West Side, Spring was in the air and in the ear. Ushering in the delights of the upcoming Spring was star soprano Hyesang Park with the incredibly sensitive accompaniment of Ken Noda. The occasion was a Neighborhood Concert produced by the Weill Music Institute of Carnegie Hall in partnership with St. Michael's church. The concert is part of the Marilyn Horne Legacy at Carnegie Hall, and the divine Ms. Horne was in the audience for this very special event.

We have reviewed Ms. Park over a half dozen times (all reviews archived) and fell all over ourselves the first time we heard her in 2013. But she just keeps getting better and better, even when there seems to be no room for improvement. Her instrument is bright but never shrill; her technique is flawless; but it is something else that draws the listener in, as if the fragrance of a rose slipped around your heart.  To hear her is to love her. Her voice is like a bell that summons one away from whatever dark place you may have been stuck in.

Perhaps the rose analogy came out of the gorgeous rose-colored gown she wore but there is no denying that her inner beauty, revealed when she modestly addressed the audience, informs everything she sings. We don't know of another singer who can close her eyes in rapture without losing contact with the audience. 

We have been most familiar with her bel canto roles and a Mozart concert aria.  Yesterday's recital revealed a number of other aspects to her versatility. Our companion, fluent in both French and German, agreed with our high opinion of Ms. Park's linguistic skills. We can attest to her authenticity in Spanish.

The program opened with Joaquin Rodrigo's Cuatro madrigales amatorios, four memorably tuneful songs of widely divergent moods; the mournful "Con que la lavare" and the teasing "De donde venis, amore?" were our two personal favorites. These songs are heard frequently on recital programs but Ms. Park made them fresh and new.

Also in Spanish were three selections from Enrique Granados' Canciones amatorias, with which we were unfamiliar. In these, Mr. Noda's collaborative piano was outstanding. He always impresses us with his profound involvement with the singer and the two of them made marvelous music together.

Clara Schumann's songs deserve to be on more recital programs and we were happy to hear five of them, all sung with superlative German diction and a remarkable depth of feeling. Mrs. Schumann's song output was certainly overshadowed by her husband's but she was no minor talent! Just hear her setting of "Liebst du um Schonheit", the Ruckert text that was famously set by Gustav Mahler!

We have often heard the vocalise of Heitor Villa-Lobos' Bachianas brasileiras No. 5. When Ms. Park sang it, our thought was "Angels can speak without words".  We cannot recall ever hearing the beautiful text about nightfall. Ms. Park handled the vocalise, the text, and the humming section with equal skill. We are not familiar with Portuguese but we shall assume that it was perfect.

Poulenc seemed to favor surrealistic texts to which we have trouble relating; however, Ms. Park's dramatic gifts allowed us the illusion that we understood! Now that is a strange phenomenon. She captured a sort of cabaret feeling to them without depriving them of their seriousness. We particularly enjoyed "Paganini" from Metamorphoses and the pictorial "C" from Deux poemes de Louis Aragon. The ironic "Fetes galantes" was performed at rapid-fire speed without missing a single syllable.

It is a courageous act for a Korean woman to sing Tosti songs, usually best sung by an Italian tenor breathing garlic into every phrase. We go on record here as saying that Ms. Park did them justice, even bringing something new to them. In "Aprile", she painted an aural picture of Spring along with Mr. Noda's lilting arpeggios. "L'ultima canzone" was so heartbreaking we could scarcely breathe. (We managed to make a one minute video which you can find on our Facebook page Voce di Meche.) The joyful "Marechiaro" was sung in accurate dialect.  We loved every moment.

Ms. Park closed the program with a lovely setting of the 23rd Psalm by N. Unyoung. Although religious music is not our favorite, the words are in Korean and Ms Park sang from the depths of her soul. It is clear from what place she derives spiritual sustenance, the more power to her.

As encore, she offered "O, mio babbino caro" from Giacomo Puccini's Gianni Schicchi. As the true artist she is, Ms. Park made this oft-heard aria completely her own.  She made the church her own.  She made the audience her own. This beautiful young woman is destined for stardom on the world's stages; and she deserves it!

(c) meche kroop

 

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