A MEMORABLE SONG SALON

Jestin Pieper, Laura Strickling, and Christopher Reames (photo by Harold Levine)

Only a couple dozen lucky lieder lovers got to experience the rewarding vocal recital offered by Joy in Singing. Joy in Singing offers awards and performance opportunities to young artists and very entertaining recitals which bring ever more people into the circle of song lovers. Lieder were meant to be heard in such an intimate environment and we felt transported a century back in time when life seemed somehow more artistic.

We were so excited to hear more of soprano Laura Strickling whose Strauss so impressed us last week at the Brooklyn Art Song Society.  And we heard tenor Christopher Reames for the first time; we hope we will have further opportunities since his lovely instrument and lively personality are perfectly suited to the art form.

Ms. Strickling has as much artistry in her presentation as she has beauty in her voice. It's a sizable instrument with a lot of power which she successfully modulated to fit the size of the room. There was but one Strauss song on the program--"Kling", an upbeat affair in which the artist could let loose her amplitude.

But she showed several other aspects of her prodigious talent. She sang Francis Poulenc's "Fleurs" with a depth of feeling and some fine French phrasing. But her favorite was also our favorite; it was Alfred Bachelet's "Chère Nuit" which was popularized by Nellie Melba. It's always such a pleasure to hear French songs correctly sung with evenness of line but without the effeteness that leaves us bored.

Mr. Reames has a sweetness of voice that stood out in his performance of Claude Debussy's "Fantoches". One very fine aspect of this recital was that each performer introduced his/her own songs and shared with us some anecdotal material. As Mr. Reames pointed out, "Fantoches" is part of the 1908 cycle Fête Galant, and the songs recreate the world of Watteau. Mr. Reames' performance allowed him to personalize the characters of the commedia dell'arte --Scaramouche and Pulcinella--in a most charming fashion.

We were also delighted by his warm delivery of "Im wunderschönen Monat Mai", one of our favorite Robert Schumann songs. The weather last night was so warm for October that the song seemed more seasonal than one might have expected.

Gabriel Faure's "Après un rêve" was another hit.  There were also songs in English by Dominick Argento, Sven Lekberg, Samuel Barber, Ralph Vaughan Williams, and Benjamin Britten. So many different styles were touched upon within a short hour!

Collaborative pianist Jestin Pieper also had the opportunity to show off his skills as a soloist with two brief Preludes by Alexander Scriabin which looked into the future while keeping the best of Late Romanticism. His pianistic skills added so much to the evening! In Franz Liszt' "Ihr Glocken van Marling" his piano reproduced the sound of churchbells.

It was a most rewarding evening and we can scarcely wait for the Joy in Singing recital at Merkin Hall on November 28th. This should be a memorable event and we urge you to get your tickets early. We attend every year and always find it thrilling!

(c) meche kroop

BASS' NEW HOME

Miori Sugiyama, Tami Petty, Michael Brofman, Kristina Bachrach, Laura Strickling, Dominic Armstrong, and Tobias Greenhalgh

The Brooklyn Art Song Society is a unique treasure on the New York City musical scene. We have trekked to the farthest reaches of Brooklyn to hear their roster of splendid singers and to immerse ourselves in their innovative programming.  We are pleased to report that BASS, has begun their seventh season in a new and permanent home--the Brooklyn Historical Society. We are even more pleased to report that the location is a grace note away from several subway stops and marvelously close to Manhattan.

This season's ambitious undertaking has a theme--Wien: Fin de Siècle-- and comprises an exploration of that period of musical maximalism we call Late Romanticism.  Our eyes love Klimt.  Our ears love Mahler. The nine songs by Alexander Zemlinsky that we heard last night filled our heart with joy to the point of bursting.

The opening event of the season was a benefit recital and the large space was packed. What a pleasure to see the results of Founder, Artistic Director and Collaborative Pianist Michael Brofman's consistently excellent programming.  Preceding the recital was a lecture by NYU Professor of History Larry Wolff on the political and cultural environment in Vienna during this epoch.

The aforementioned Zemlinsky songs were shared by soprano Kristina Bachrach and baritone Tobias Greenhalgh. Ms. Bachrach sings with a melting tone and a fine vibrato. She seemed to immerse herself in each song and drew the audience toward her.  The songs are brief vignettes, mostly about love, with "Hütet euch!" bearing a shift from the lighthearted arrival of love to the warning about love's equally precipitous departure. The change in coloration was admirable.

Mr. Greenhalgh has recently returned from the Wiener Kammeroper; although we had no complaints about his fine German diction before, we noticed a crispness that might have had us taking him for a native speaker. We particularly enjoyed the baritonal resonance of his instrument when he struck a lulling tone in "Schlaf nur ein!" The change of color from the anxious tone of the insomniac to the lulling reassurance at the end of each verse was quite lovely. We also loved the ardent romanticism of "Unter blühenden Bäumen".

It was no fault of Mr. Greenhalgh that we could not relate to the lengthy and less accessible piece "An den Mond" by Hans Pfitzner. The text by Goethe is filled with troubled emotions; the vocal line is less melodic; the harmonies are more ambiguous. Mr. Brofman's piano captured the anxiety.

The second half of the program comprised almost as much Strauss as we wanted to hear.  The great thing about Strauss is that he is like champagne for the ear.  One can imbibe to excess but one can never get enough! Miori Sugiyama took over for this set as collaborative pianist.

Soprano Laura Strickling has a warm stage presence and great ability to form a connection with the audience. Her German diction is a thing of beauty.  Perhaps the charming "Ständchen" was our favorite in this set; the melody always accompanies us on our way home. We enjoyed her in storytelling mode when she gave a convincing performance of "Die Nacht", another melodic gem. Strauss is a perfect fit for her brilliant tone.

She also sang Joseph Marx' "Selige Nacht".  Every time we hear a Marx song we wonder why his songs appear so rarely in lieder recitals. Ms. Strickling captured the romantic mood and used superb dynamic control from the pianissimo beginning to the thrilling climax. Marx' "Nocturne" gave Ms. Sugiyama an opportunity to show off some dazzling runs on the keys.

Tenor Dominic Armstrong used a gently caressing and tender tone for Strauss' "Heimliche Aufforderung" but became quite ardent at the end, pushing his tone a bit. We noticed this also in "Zueignung" when we wished he would float the top notes instead. One can be passionate at less volume!

We were quite taken, however, by his performance of "Allerseelen", another favorite of ours. On this one day of the year, the poet (Hermann von Gilm zu Rosenegg) can reunite with the spirit of his loved one and Mr. Armstrong appeared to be seeing her spirit and, consequently, so did we.  It was a powerful effect and an interpretation we will long recall.

The final set on the program was the perfect conclusion. Soprano Tami Petty, first brought to our attention as a Joy of Singing winner, has a voice that is made for Strauss. She performed his autumnal Vier letzte Lieder and held the audience spellbound. Three of the texts are by Herman Hesse. 

The songs are said to be autobiographical, the summing up of the composer's life. "September" contains several melismatic passages that Ms. Petty made the most of, while "Beim schlafengehen" brought out all of Ms. Sugiyama's expressiveness.

The two artists worked well together and the final piece "Im Abendrot" (text by von Eichendorff) was filled with ethereal ambiguity. The end of the recital?  The end of Strauss' career? The end of his life?

We heard five superb singers paying tribute to four fine composers. We eagerly await the next installment of Wien: Fin de Siècle on November 4th.  "Wien II" will tackle the music of Hanns Eisler's Hollywood period. It will be a wonderful opportunity to hear another side of Ms. Bachrach's artistry and to reconnect with tenor Nils Neubert--yet another favorite singer of ours.

(c) meche kroop

HE SAYS SHE SAYS

Mr. Myer, Ms. Sugiyama, Ms. Maroney, Mr. Brofman, Ms. Strickland, Mr. Williams

A chance to hear songs we hadn't heard before sung by singers heretofore unknown to us was enough to bring us to Brooklyn for Part II of Clara, Robert and Johannes, presented by the worthy Brooklyn Art Song Society.  Discovering a new performance space, Old Stone House, was the icing on the cake.  Who knew?

What an excellent opportunity it was to hear the complete lieder of Clara Schumann; unlike other women composers of the day, Clara was able to compose and perform with the support of her husband in what must be considered one of the great love affairs of the 19th c.  Having defied Clara's recalcitrant father, the couple married and enjoyed a life of musical partnership until Robert's untimely death.  In spite of the adoration felt for her by Johannes Brahms, she ostensibly remained faithful to her late husband. But she sadly stopped composing when her husband died.

With her generous soprano, Laura Strickling opened the program with  Clara's Sechs Lieder, Op. 13. partnered by Miori Sugiyama on the piano.  We were quite taken with "Sie liebten sich beide", a tale of missed opportunities in which the gorgeous piano line drifts away without resolution, like the couple that never expressed their love.  Choosing a text by Heinrich Heine is never a mistake!  Of course one could say the same about Rückert; and Clara's setting of von Geibel's "Die stille Lotusblume" was incredibly tender and sweet.

We enjoyed Ms. Strickling's singing even more in the six lieder of Op. 23.  Her blooming upper register gave joyful life to these texts by Rollet, particularly "Was weinst du, Blümlein".  We enjoyed the gentle arpeggios in Ms. Sugiyama's piano in "Geheimes Flüstern".  In "An einem lichten Morgen" we were treated to the metaphor of the loving sun addressing an opening flower.  Could this be 19th c. eroticism?

"Zwölf Gedichte Op. 37" comprised a dozen songs by the loving marital pair, settings all of Rückert's texts.  Clara's "Er ist Gekommen", sung by mezzo Kate Maroney, had some intense passion in the piano part, giving Michael Brofman (Founder and Artistic Director of the Brooklyn Art Song Society) an opportunity to show the range of his formidable interpretive skills.  We have always adored Mahler's setting of "Liebst du um Schönheit" and were delighted to learn that Clara's setting is equally melodic, if not as well known.  Ms. Maroney sounded quite lovely.  Several of the songs were sung by baritone David Williams who has a pleasing tone and a nice lower register as heard in "Rose, Meer und Sonne".  We particularly enjoyed the Maroney-Williams duets, particularly the song that ended the first part of the program "So wahr die Sonne scheinet" with its gorgeous harmonies; the voices blended beautifully.

Accompanied for this set by pianist Spencer Myer, Ms. Maroney performed Frauenliebe un leben Op. 42.  She seemed most invested in the excitement of "Helft mir, ihr Schwestern" and "An meinem Herzen".  We have always been able to overlook the anti-feminism of Adelbert von Chamisso and to just enjoy the music.  The poetry of the early 19th c. scans and rhymes in a way that delights the ear and inspires some gorgeous vocal writing that we rarely hear in contemporary music.

The recital was made even better by the projection of texts in both German and English, a wise decision in our opinion.  But it was made somewhat less enjoyable by the use of music stands which imposed a barrier between the singer and the audience.  We understand the need for them in modern music in which the vocal line is unmelodic and the text doesn't scan.  But for music of this period we would have hoped that the singers would have  made the effort to memorize.  Perhaps that is asking too much.  One further thing that detracted from this delightful evening of song was the occasional mispronunciation of German vowels and consonants; it was probably of no consequence to 99% of the audience but our ears pick it up as much as we aim to shrug it off.

On the whole, it was a fine evening and we were thrilled to hear songs that have been overlooked in so many lieder recitals.  We will have still more gratitude for B.A.S.S. as they continue with Part III of Clara, Robert and Johannes on November 17th in another charming venue, the Firehouse in Williamsburg.

© meche kroop