SPANNING SIX CENTURIES

Neil Beckmann, Amber Evans, and Francesca Ferrara

Most vocal recitals we've reviewed include works of the 19th c.--our favorite. Last night we attended a very special recital that jumped from the Baroque period to what we would call Post-Modern, skipping over the 19th c. What made the recital special was not only the unique aspect of the choices but the excellence and commitment of the performers. These were works that the artists enjoyed performing; one could tell by their enthusiasm.

Soprano Amber Evans has an engaging stage presence and an impressive instrument, the texture of which worked extremely well with the acoustics of the beautiful sanctuary of St. John's in the Village, the Rector of which, Graeme Napier, is a real music lover. One would be hard-pressed to find a night there without a recital!

Ms. Evans' musical partner was Neil Beckmann who seemed as comfortable with the exotic theorbo as he was with guitars (both acoustic and electric), and the lute. The pair was joined by flutist Francesca Ferrara for the final selection on the program which we will get to later.

Of the Baroque portion of the program, we were captivated by Barbara Strozzi's "L'Eraclito Amorosa", a rather typical lament of someone with an unfaithful lover. It was expressed in Strozzi's unique and heart-rending style which was well matched by Ms. Evans' passionate delivery in the manner favored by singer/scholar Jessica Gould of Salon/Sanctuary Concerts. The Italian was perfumed with garlic, as it should be. We loved the melodic line which was enhanced by dynamic variety. The extended melismatic passages served as a vocalise, showcasing Ms. Evans' gifts. Mr. Beckmann's theorbo provided worthy accompaniment.

Also from the 17th c. was Michel Lambert's "Vos Méspris" which delighted our ears. The text is another cri de coeur from a scorned lover. Apparently that was a favorite topic in that epoch, one which inspired so much gorgeous music. Again we loved the way the theorbo sounded with the voice.

From the 16th c. we heard several songs by John Dowland, our favorite of which was "In Darkness Let Me Dwell" because of the way Dowland married music to the text. The texture of Ms. Evans' voice and Mr. Beckmann's lute produced overtones which bounced around the room, creating an arresting effect.

From an even earlier period (15th c.) was Guillaume Dufay's "Mon chier amy". On the page, the consoling words are spelled differently from the more familiar spelling of the 17th c. French but we had no trouble understanding Ms. Evans' excellent diction, which impressed our native born Francophone friend.

We confess we have struggled with words to describe the Post-Modern works on the program. We always feel a bit lost when there is no melody but we can't say we were bored or alienated. Let's just say we found them curious and interesting. There was a haunting flavor to Marcos Balter's "Pos que nada que dure ou que durando". The Portuguese offered no challenge to our linguistically gifted soprano, nor did the scoring for cowbells and triangle. There were keening sounds and a very delicate decrescendo at the end. Mr. Beckmann accompanied with acoustic guitar and whistles (!). Yes, whistles.

Madeleine Isaksson's "Därimellian" requires the singer to make up syllables. The two artists created some unique overtones as Mr. Beckmann did some strange moves on an electric guitar--portamenti and vibrato (to use vocal terms with which we are familiar). There was nothing to hold onto except for a 3-note motif.

Anna Korsun's "Tollers Zelle" showed off Ms. Evans' facility with some strange bird cries and with the spoken German text at the end of the piece. Mr. Beckmann played electric guitar with more strange techniques and both took turns with what appeared to be a child's toy, a kind of music box played with a rotating handle. We certainly didn't know what to make of it or how it related to the text.

Kaija Saariaho's "Adjö" was visually interesting with some vigorous beating of chimes and tambourine. Flutist Francesca Ferrara produced some strange overtones juxtaposed with acoustic guitar. The vocal line was nothing if not spiky. The text was Swedish.

On more familiar territory we heard Benjamin Britten's Six Folk Songs for Soprano and Guitar. We particularly enjoyed "I Will Give My Love an Apple" and "Sailor Boy". Folk songs endure because they have melody!

As encore we heard an old German Christmas carol "Maria durch ein Dornwald ging" which dates arguably from the 16th c. and is undeniably lovely even in the modern arrangement we heard on the theorbo.

We thought long and hard about the music we heard last night. The oldest endured for six centuries.  How long will the music composed in the 21st c. endure?  Just sayin'!

(c) meche kroop

TEMPEST IN A TEAPOT

Thomas Richards, Jennifer Zetlan, and Abdiel Jacobsen (photo by Richard Termine)

One might think of Gotham Chamber Opera's newest entry in terms of Richard Wagner's concept of gesamtkunstwerk--combining poetry, music, singing, dancing, set design and, of course video projections.  Another way to perceive the work is, as our companion for the evening called it--a haiku of a Shakespeare play.  We thought of it as a meditation on Shakespeare's Tempest with contributions from the 18th and 21st centuries.

The entire affair was directed and choreographed by Luca Veggetti, using four amazing dancers from the Martha Graham Dance company who impressed us with their dramatic intensity.  Peiju Chien-Pott stood out for her flexibility and breathtaking extensions, defying her peculiar costume of jeans and boots.  Abdiel Jacobsen partnered her effectively in some outstanding duets.  The other two dancers, Ying Xin and Lloyd Mayor were, for unknown reasons, swathed entirely in black which was unfortunate because they are very attractive performers.

Singing roles were taken by soprano Jennifer Zetlan, whom we had much admired in Two Boys at The Metropolitan Opera, and bass-baritone Thomas Richards, whom we would like to hear again, singing different material.

We are somewhat familiar with the music of Kaija Saariaho from her Amour de Loin which we saw in Santa Fe a few years ago. It may be very fine music but every time the program switched to songs of Henry Purcell from his 1712 version of The Tempest, we felt our taut nerves relaxing and our ears smiling. We particularly enjoyed Purcell's "Halcyon Days".

Purcell's songs are melodic and pleasing; Saariaho's belong to that category of post-modern composition that does not fall gently on the ear.  Many songs were declamatory and approached sprechstimme.  It is easy to evaluate a singer's quality in the Purcell (both singers were fine) but it was impossible to evaluate with the Saariaho. In one song, "Bosun's Cheer", Richards mentioned "roaring, shrieking, howling, and jingling". We wondered whether he was referring to the sea or to the sounds he was asked to reproduce!

The same issue occurred with the instrumental music.  The combination of period instruments conducted by Maestro Neal Goren sounded delightful in the Purcell songs. The Gotham Chamber Orchestra comprised a string quartet, a bass, a harpsichord and an archlute which we mistook for a theorbo.  (Following the performance we had just enough time to visit the Met's exhibit of Caravaggio's paintings of musicians and their instruments.  There were also real antique instruments under glass. Nice tie-in!)

We did not find the Saariaho delightful--interesting, dramatic, but not delightful.

The simple but effective set by Clifton Taylor, who also did the moody lighting, included a huge globe on which were projected images suggestive of a tempest at sea, and later showed images of the performers themselves.  Video projections were by Jean-Baptiste Barrière.

Costumes by Peter Speliopoulos did not amount to much. Ms. Zetlan was clothed in a shapeless shift that achieved the goal of timelessness without flattering her figure. Others wore street attire.

Gotham Chamber Opera is known for taking risks and this one seemed to please the audience in the Grace Rainey Rogers Auditorium at the Metropolitan Museum. We consider it a worthwhile adventure although not altogether pleasing.  Let us say rather that it was dramatic and interesting.

(c) meche kroop