MIRROR VISIONS ENSEMBLE--25 YEARS AND GOING STRONG

Alan Darling, Scott Murphree, Justine Aronson, and Jesse Blumberg

What's a writer to do when some of her favorite singers are performing a type of music she does not appreciate? What this writer does is to go, to listen, and to hope to find a composer whose music in the unappreciated genre might strike her fancy, thereby expanding her horizons.  And that was exactly what happened when we heard songs by Alexander Liebermann.

Last night at the Sheen Center, Mirror Visions Ensemble celebrated their 25th Anniversary and their quartet of fine singers, comprising soprano Vira Slywotzky, tenor Scott Murphree, baritone Jesse Blumberg, and baritone Mischa Bouvier, were joined by guest artist Justine Aronson, whom we hardly ever get to hear. With a group of singers like this, we were sure to hear some music we'd like in this mostly modern program.  And we did!

The opening song "Invitation to Love" was  Aaron Grad's highly original setting of a text by Paul Laurence Dunbar, the son of emancipated slaves who was the first Afro-American poet to achieve international recognition and distinction. He wrote over a century ago and lived only 33 years. The text used by Mr. Grad rhymed and scanned, providing fertile material for Mr. Grad's unusual writing in which soprano, tenor, and baritone were given tuneful melodies, interesting harmonies, and overlapping voices. So few composers know how to choose text and how to make good use of the English language. We can honestly say that we were delighted by this work which won MVE's Young Composers Competition.

What MVE is best known for is presenting a text that was set by more than one composer. We can think of so many such works that inspired composers of the 19th c. (our favorite period). We always love Brahm's peaceful "Feldeinsamkeit" and thought Mr. Blumberg captured the tranquil mood of Hermann Allmers' text, especially the melismatic singing on the word "umwoben" (woven). We never knew that Charles Ives set the same text and it was also quite lovely, as sung by Mr. Murphree.

Both Paul Hindemith and Benjamin Britten set Thomas Moore's text  "How Sweet the Answer Echo Makes".  Ms. Slywotzky sang the Britten beautifully and Mr. Bouvier did justice to the Hindemith.

The other mirror image on the program comprised two settings of a Paul Verlaine text--"L'echelonnement des haies". Mr. Bouvier sang the setting by Debussy and Ms. Slywotzky performed the setting by Poldowska, a female composer whose style seemed very much influenced by that of Debussy. Poldowska was the pen name of a musically gifted woman who led an entirely too colorful life to be described here. Margaret Kampmeier's piano and both singers conveyed the gentle lilting music. Clearly, Verlaine's evocative text dictated the music.

And that is what we find unenjoyable about contemporary setting of English poetry.  The poetry sounds more like prose! We miss the lilt.  We miss the melody.

The second half of the program was devoted entirely to a commission given to Tom Cipullo entitled A Visit with Emily. This was an elaborate work in many parts, mostly consisting of settings of Emily Dickinson's letters to T. W. Higginson and his letters about Ms. Dickinson to his wife. No doubt this is an "important" work but our pleasure came more from the singers than the songs. 

Ms. Aronson has the most exciting timbre in her voice and a vibrato that strikes our ears just right. The opening song quotes Ms. Dickinson's description of her definition of poetry as that which makes her whole body cold and makes her feel as if the top of her head were taken off.  We cannot say that we have ever felt that way from poetry! But music we like will give us goosebumps!

One of the more interesting parts of this cycle was Mr. Blumberg, Mr. Murphree, and Ms. Aronson singing three different poems about fame simultaneously in "Quodlibet I". Another part that we liked had the three of them singing a "Catch" which was brief and pithy--"Women talk: men are silent: that is why I dread women." The humor came from the fact that the men had all the lines with Ms. Aronson making wry faces. The English language lends itself well to humor!

"Passacaglia" was a pithy duet with elaborate variations poking fun at the hypocrisy of people saying they will come again some time.  (Kind of like "Why don't we have lunch some time?" in modern parlance.)

We also found something to appreciate in #17 and #18 when Mr. Blumberg and Mr. Murphree sang simultaneous arias about Wonder, Suspense, and Forgetting.

(c) meche kroop

OH HOW SHE SANG!

Bradley Moore and Jamie Barton

Inaugurating an exciting new series at the Schimmel Center of Pace University--called Voce at Pace--was the astonishing mezzo-soprano Jamie Barton, fresh from her stunning success as Aldagisa in Bellini's Norma at The Metropolitan Opera.  Ms. Barton has been making quite a name for herself since winning the Met National Council Auditions six years ago.  A Richard Tucker Career Grant followed. And now the 2013 BBC Cardiff Singer of the World Competition, both Main and Song Prizes.

The first thing you notice about Ms. Barton is the poise with which she commands the stage.  There is not a whiff of arrogance but rather a sureness that says "I have a great gift and I am delighted to be sharing it with you today".  And share she did!  The capacity audience was so enthusiastic that they applauded every number.  It was remarkable how cell phones were permanently silenced, candies remained wrapped, coughs were stifled, and whispering was nonexistent.  In an artist of this caliber, there is nothing left to say about her superlative voice.  What one notices is her skill at relating to the audience.

The program opened with Purcell's "Music for a While" adapted by Benjamin Britten; indeed, all our cares were beguiled.  A set of songs by Brahms followed, each one in a different mood.  The playfulness of "Ständchen" was followed by the passion of "Meine Liebe ist Grün"; "Unbewegte, laue Luft" began dreamily but became ardent.  Ms. Barton captured the two voices in "Von ewiger Liebe", the concerned young man and his resolute sweetheart.

The Sibelius songs that followed were equally enthralling.  "Svarta Rosor" had a bitter flavor while "Säf, säf, süsa" was dirgelike.  We have heard the popular "Flickan kom ifrån sin älsklings möte" numerous times but Ms. Barton made it new again as she gave voice to the questioning mother and the evasive daughter.  "Marssnön" is a gentle song about a late snowfall delaying the onset of Spring.  "Var det en dråm?" was filled with melancholy and nostalgia.  So many colors in her voice!

The second half of the program comprised songs by Charles Ives and Edward Elgar.  Twentieth century songs in English will never make it to our Top Twenty list but we happily admit that Ms. Barton made sense out of poetry that we favor not at all.  Actually "Memories Very Pleasant and Very Sad" rather delighted us.  Ms. B. milked every drop of childhood excitement from "We're sitting in the opera house" and actually whistled!  The sad memory about a threadbare tune associated with a dead uncle was given a full measure of grief.

In Elgar's "Sea Slumber Song" Ms. B. got a chance to show off her powerful lower register, and in "The Swimmer" to show off her big money note at the end.  Her reknowned collaborative pianist Bradley Moore was supportive throughout and we enjoyed his rippling piano in "In Haven".

The first encore was "Never Never Land" from Peter Pan--music by Jule Styne, lyrics by Comden and Green.  Yes, Virginia, an opera singer can sing a Broadway tune without sounding affected!  Drawing the afternoon to a stunning close was "Stella del Marinar" from Ponchielli's La Gioconda.  Major WOW!

There will be two more impressive singers in this series; watch out for tenor Paul Appleby on January 26th and Nadine Sierra on February 9th.  We cannot imagine better choices and are thrilled to have a new vocal series in New York City.  This one is well worth the trip downtown.

© meche kroop

THE BARD OF LINDEMANN

Whether you perceive Elliot Madore as barihunk or baribard depends upon whether you were using your eyes or your ears.  Mr. Madore sings as if he wrote the poetry and the music himself and that is one rare gift.  In his recital last night for the Lindemann Young Artist Development Program he demonstrated skills as a recitalist that equal his skills onstage at the Met where we recently thrilled to his performance of the role of Lysander in Enchanted Island.  Wisely, he scaled down his strikingly rich voice to suit the size of the room and similarly modulated his dramatic intensity to just the right degree.

Accompanied by Natalia Katyukova, he opened the program with a song by Glinka entitled “I remember that magical moment” which allowed him to express a wide range of emotions.  Two songs by Tchaikovsky followed--”At the ball” and “Don Juan’s Serenade”.  It was during the latter that Ms. Katyukova’s piano skills were most evident.

Switching from Russian to the deceptively light hearted Banalités of Poulenc, we enjoyed the humor of “Chanson d’Orkenise”, the languor of “Hôtel”, the wistfulness of “Voyage à Paris” and the exquisite diminuendo at the end of “Sanglots”

But it was Mahler’s Lieder eines fahrenden Gesellen that broke our heart as Mr. Madore seemed to be authoring on the spot the compelling emotional journey of a young man disappointed in love.  Using impressive dynamic control and word coloring, he made the trip from grief to irony and false joy to fury and finally acceptance.  One could scarcely hold back the tears and deal with the lump in the throat.  Comprising only four songs, this cycle, Mahler’s first, covers similar material to Die Schöne Müllerin and Winterreise only far more succinctly.

The program closed with some songs by Ives, one of which is a setting of Heine’s poem “Ich grolle nicht” which, while beautifully sung, could never match the setting by Schumann in his Dichterliebe.  As encore, Mr. Madore sang “My Boy Bill” from Rodgers and Hammerstein’s Carousel.  He sang it with the same dramatic intensity and connection with the text that was shown in the rest of the program.

As Mr. Madore finishes his second year with the Lindemann program and pursues his operatic destiny we wish him all the best.  With talent like that, luck is unnecessary.  We hope to see him at the Met singing Don Giovanni, perhaps his signature role?

© meche kroop