ROMA

Kristin Gornstein, Michael Brofman, Stanichka Dimitrova, Nana Shi, Tami Petty, and Michael Kelly

Roma! Perhaps you thought the name of this review referred to the Italian 

Capitol.  It does not! It refers to a people without a homeland, a people both revered and despised, sometimes scorned--but in the 19th c. elevated to a position of artistic reverence by the quest for exoticism inherent in the Romantic tradition. (We felt like writing ROMAntic.)

In its tenth anniversary season, the Brooklyn Art Song Society, helmed by pianist Michael Brofman, chose a theme of national identity as expressed through music, encapsulated by the word "Home". What a splendid theme! Last night we heard the first concert of the season, one which focused on the Roma people. 

Although we came for the songs and enjoyed the program immensely, what lingers in our ears is Franz Liszt's Hungarian Rhapsody #2 in C-sharp minor, one of our favorite keys. This was the first time we experienced the piano artistry of Nana Shi. One minute she was giving perfect pianistic support to the gifted soprano Tami Petty and the next, without pause for applause, she launched into this rhapsodic Rhapsody which likely symbolises best the feeling of gypsy music.

The trills made us think of the flutter of hummingbird's wings and the playing in the upper register suggested the sound of the cimbalom. Liszt's melodic invention is astounding and Ms. Shi's brilliant technique gave different colors to the mad succession of themes. We particularly enjoyed the wild abandon of the fast section which had us almost dancing in our chair.

We don't want to give short shrift to Ms. Petty's performance of Liszt's evocative "Die drei Zigeuner". Ms. Petty is a consummate storyteller, using a variety of dynamics and vocal coloration to tell the tale. The timbre of her voice is gorgeous and she knows how to spin a top note into a silken thread of sound. We had to stifle our applause until the end of the instrumental piece but we enjoyed the buildup of tension.

Mr. Brofman himself accompanied baritone Michael Kelly for Antonín Dvorák's Zigeunerlieder Op. 55. We have heard this cycle of seven songs sung in Czech (fantastic), in German (wunderbar), and in English (meh!)--but somehow we never heard it sung by a man and we don't know why. Mr. Kelly's delivery was meticulous and passionate at the same time. The text fulfills every fantasy anyone ever had about the free gypsy life and Mr. Kelly gave it full expression. We enjoyed the melismatic passages in "Mein Lied ertönt" but our favorite was "Als die alte Mutter". Each song is a painting and all together they formed a magnificent mosaic.

Ms. Shi is equally excellent as a soloist and as a collaborative pianist. The lush violin playing of the adorably named Stanichka Dmitrova reminded us of how like the human voice is the violin. The two artists seemed to breathe together whether in the long legato lines (like an operatic aria) or in the spirited and fiery plucked passages (like a cabaletta).

For our 19th c. ears, Pablo Sarasate's Zigeunerweisen Op. 20 held a bit more interest than the more modern Tzigane by Maurice Ravel which opened with a prolonged solo and kept Ms. Dimitrova in the lower register for quite some time whilst Ms. Shi's fleet fingers raced up and down the keyboard. It sounded to us like a deconstruction of gypsy melodies, as if the themes were cut in pieces and thrown into the air to land in a new arrangement.

We wish we could say something lovely about Brahms' Zigeunerlieder, Op. 103 but there is just something about the use of the music stand that distracts and distances us from the artist. We have heard and enjoyed Kristin Gornstein's pleasing mezzo-soprano on prior occasions but last night we were bored and our attention wandered. There was one lied in the cycle of eight that did pull us in. "Wißt ihr, wann mein Kindchen" is a song in which a boy and girl take turns expressing what they like about the other, offering the singer an opportunity to alter the coloration to suit.

Let us not fail to mention the encore--a tribute to the late Jesse Norman. Ms. Petty sang Strauss' Morgen, putting the audience in a pensive mood, quite a change from the high-spirited gypsy songs.

The theme of "Home" will continue on November 1st with Chants D'Auvergne by Joseph Canteloube; the complete cycle will be performed at the Brooklyn Historical Society.

© meche kroop

ART SONG WANTED! DEAD OR ALIVE?

Nils Neubert and Robert Brandt

 Art Song recitals are a tough sell these days and one wonders why this perfect marriage of poetry, piano, and voice has fallen out of favor with the musical audiences of today. It seems as if a celebrity singer can fill up Carnegie Hall; but the true artistry of this genre is best enjoyed in an intimate venue.

Frank Daykin and Thomas

New York City has a number of organizations devoted to the survival of the art song and chief among them is The Art Song Preservation Society which is in the middle of its annual festival.  We love their motto--"Where Music Speaks & Words Sing". Headed by singer/pianist/educator/arts administrator Blair Boone-Migura, ASPS provides opportunities for education and performance for both emerging and established composers, singers, and accompanists. They are also involved in community outreach, mentoring, and an internet-radio podcast.

This week there will be daily master classes at 2:00 PM held at Manhattan School of Music; the master teachers are some of the best in the field.  Although not available in the daytime, we are mostly excited about the Friday evening recital of Latin American Art Song.  And anyone free next Saturday at 1:00 can enjoy the finals of the Mary Trueman Art Song Vocal Competition; an added bonus is the opportunity to vote for your favorite competitor.

We have just returned from a delightful recital in which two seasoned recitalists presented both solos and duets of this genre, accompanied by two veteran and legendary collaborative pianists who are both "poets of the piano". This complement allowed for the hearing of rarely heard duets and four-handed piano pieces.

The program opened with tenor Nils Neubert joining forces with baritone Robert Brandt for three duets by Brahms, none of which we have heard before. The sound fell sweetly on the ear with great attention paid to crisp consonants, lovely phrasing, and a perfect balance between the two voices. We do love German lieder with the same affection which Italian holds for us in the area of opera. Furthermore, the composers of 19th c. Germany astutely chose fine poetry to set.

We are pleased to share with our readers that the early 20th c. English songs held no terrors for our 19th c. ears. We heard a selection of songs by Gerald Finzi, Herbert Howells, and John Ireland, all distinguished by their wise choices of text and their astute use of our mother tongue to amplify this text.  Of course, one can never go wrong with Shakespeare, whose iambic pentameter lends itself to musical setting. We wish contemporary composers would choose better text to set!

These songs were given a fine performance by the mellow voiced Mr. Brandt, accompanied by Frank Daykin, who brought out the subtleties of the piano score, especially the sound of the nightingale in Howells' "King David". In Finzi's flirtatious "O Mistress mine", we enjoyed Mr. Brandt's lovely pianissimo in the last verse.  The philosophical "Fear no more the heat o' the sun" from the Bard's Cymbeline, and Ireland's nostalgic "The Salley Gardens" were followed by the frisky "It was a lover and his lass" from As You Like It. Mr. Brandt colored each song according to its text and his English diction was particularly well defined.  Not a word was lost.

Mr. Neubert also had his turn as a soloist and we enjoyed his performance of Quatre Melodies de Claude Debussy, settings of text by Paul Verlaine. Thomas Grubb's piano was the ideal partner; Mr. Grubb is renowned for writing the popular Singing in French, a manual of French Diction and French Vocal Repertoire. "C'est l'extase langoureuse" was given an appropriately languid reading. In "Il pleure dans mon coeur", we enjoyed the rippling piano, quite different from the rolling waves of "La mer est plus belle".

The two singers joined forces for two duets by Gabriel Fauré that were new to us. The lovely French lines involved the two voices echoing one another, not only in the textual lines but on the pleasing sound of "ah". The audience favorite seems to have been the jolly "Tarantelle". Mr. Grubb was truly in his element.

Besides this banquet of vocal music, we were treated to some four-handed piano.  We heard a sonata for four hands by Francis Poulenc--lively and somewhat dissonant. The program closed with Ravel's Ma Mère l'Oye, written in 1908-1910. Mr. Daykin, known for his widely used Encyclopedia of French Art Song: Fauré, Debussy, Ravel, Poulenc, gave a droll introduction to this work by Ravel, here at his picturesque best in programmatic music written for the children of his friends, who were unable to learn the piece!

We particularly enjoyed "Les entretiens de la Belle et de la Bête" in which Mr. Daykin expressed Belle's beauty in the lyrical part played in the upper register, whilst the rumbling of the Beast was taken by Mr. Grubb at the lower end of the register. Both themes were transmogrified over the course of the movement.

The audience clamored for an encore but there was none.  Still, we left feeling completely fulfilled.

(c) meche kroop

GIMME SOME BLUES!

Joshua Blue onstage at Juilliard

A tenor with a point of view took the stage at Juilliard yesterday in a very personal program filled with passion, as befits his middle name, which is Vaspassion. Mr. Blue is about to be awarded a Master of Music Degree and he chose a theme for his graduation recital--the theme of oppression. Different sets were devoted to political oppression, sexual oppression, and racial oppression.

Mr. Blue has a voice that can caress or strike hard and he always colored his voice to suit the material. He employed the services of a number of different artists which made for a very compelling recital, although we have no doubt that he could have carried the recital on his own.

His collaborative pianist, Amir Farid, opened the program with the oceanic prelude to Rachmaninoff's "Arion", the setting of a text by Pushkin, selected from the composer's 14 Romances. Voice and piano worked together, creating both storm and peace.

Next we heard Sechs Hölderlin Fragments and were surprised at how significantly we preferred Britten's setting of German text over his setting of English. We cannot say whether it was Mr. Blue's powerful presence or the fact that German sings so much better than English. The rhythm of Britten's music seemed to fit the rhythm of the text in far better fashion. Mr. Farid's piano was exceptional in "Hälfte des Lebens".

For Ravel's Chansons madécasses, Mr. Blue and Mr. Farid were joined by cellist Matthew Chen and flutist Jonathan Slade who effectively created the bird song in "Il est doux". The songs related to the oppression produced by colonialism. "Nahandova" speaks of desire for the indigenous and exotic woman whilst "Aoua" speaks of betrayal by the colonializers.

Three art songs by some rather unknown Soviet composers captured our attention with marvelous melodies and texts that often seemed ironic in their praise of life under Communism. Perhaps these works were commissioned by the State but we have no way of knowing. 

"Lullaby" sounded suspiciously reassuring. "Times Have Changed" glorified life under Lenin and Mr. Blue amplified his forceful Russian with dramatic gestures. 

The final work on the program filled the stage with drama and fellow musicians. Guitarist Jack Gulielmetti, whom we remember from his appearances with New York Festival of Song, was joined by drummer T.J. Reddick and the four artists performed the world premiere of Andrew Seligson's rousing Break Your Chains--the subject of which was the Afro-American experience. 

We don't know whether to call it a cantata or a cycle of songs. We don't know what genre to which we can attribute it. Jazz Rock maybe?  It doesn't matter. It spoke to us and to the audience that greeted its conclusion with cheers. Although Mr. Blue warned the audience that they might be upset and close their ears to this cry of pain and injustice, he was preaching to the choir. The energy in the room was that of people truly listening, truly hearing, and those willing to be inspired.

Text for this work was provided by Andre Cardine, Epiphany Samuels, Preston Crowder, B.J. Tindal, the composer, and also Mr. Blue. There was a lot of anger and drive behind the words.

The message of the program has remained with us. Every battle needs a battle anthem! There are people all over the world fighting against oppression at this very moment. We see no reason for Mr. Blue to have included oppression of women in his program but our thoughts went toward women fighting to be free from sexual harassment, women in Saudi Arabia who seem to have won the right to drive, and Iranian women who are fighting against a rigid patriarchal dress code. Music is so powerful in mobilizing and inspiring people!  

(c) meche kroop

DOWN HOME DIVA

rom

Jamie Barton at Zankel Hall (photo courtesy of Carnegie Hall)

Within our blog reside about ten encomia directed toward this arresting mezzo-soprano. What more can we say about her commanding stage presence, her chocolate stout timbre, her perfect phrasing, and her linguistic skills?

Let us just focus on last night's sold out recital at Carnegie Hall which drew torrents of applause, a standing ovation, and demands for encores. The particular encore that closed the recital was, interestingly, the same aria that we sat in the rain to hear at the Naumberg Bandshell in Central Park! The occasion was a celebration of Richard Tucker's 100th birthday.

Permit us to quote from the August 2013 review..."Mezzo Jamie Barton tackled "Acerba voluttà" from Cilea's Adriana Lecouvreur as if it were a piece of cake.   Her creamy lush voice and intense stage presence were a joy to behold."

Last night we were indoors and well sheltered from the elements. Moreover we were able to hear every dramatic phrase of this aria sung by the soon to be discarded Princesse de Bouillon, bearer of the poisoned violets. This was a real barn burner and far outweighed the rest of the program.

Ms. Barton always creates her own programs, this time in collaboration with her excellent pianist Kathleen Kelly. With the confidence of knowing that her audience will follow her wherever she goes, she makes every program unusual and interesting with the old and the new, the borrowed and the blue. She's one of those artists who could hold our interest if she sang the phonebook and there were moments when we thought she was.

Take for example Iain Bell's setting of text by e.e. cummings. The poetry has a certain amount of visual interest as the words are scattered upon the page but the music they inspired was not music to our ears. The work was commissioned by Carnegie Hall and, since this was a world premiere, it generated a certain amount of excitement, especially as performed by Ms. Barton. We do not care to ever hear it again.

On the other hand, we absolutely loved what we considered to be the centerpiece of the program, which we have heard and enjoyed many times, but more than ever last night as Ms. Barton put her own original and highly dramatic stamp on it.  We are speaking of Joseph Haydn's secular oratorio Arianna a Naxos.

Poor Arianna (Ariadne) saved the life of Teseo (Theseus)  and sailed away with him only to be "ghosted". Although the work dates back to about 1789, the theme could not be more contemporary, as experienced by women attempting to date in the electronic age.  It was far more contemporary than Libby Larsen's setting of three mid-20th c. American women poets in Love after 1950, from which we heard three selections.

There was plenty of humor and irony and the musical styles varied from the bluesy sound of "Boys Lips" to the rock and roll sound of "Big Sister Says". Again, it was Ms. Barton's delivery that made them interesting.

Ms. Barton had a theme for the evening, wanting to present works that were somehow overlooked because of the gender of the composer or poet, or works that are not generally sung by a woman. She is good at breaking barriers, she is! 

Her delivery of Ravel's "Chanson à boire" from Ravel's Don Quichotte à Dulcinée was sheer glee and, indeed, the first time we have heard it sung by a woman. Singers love to play inebriation as much as actors love death scenes. And why shouldn't a woman enjoy getting tipsy and very very happy! We are thinking of "Je suis grise" from Offenbach's operetta La Périchole.

Henry Duparc's "Phidylé" was sung with initial delicacy and final expansion and gave us maximum aural pleasure, as did Richard Strauss' "Cäcilie".

If we have said nothing about the opening songs by Elinor Remick Warren, Amy Beach, and the sisters Boulanger, it is because we neither loved them nor hated them.

This recital was part of the excellent Jula Goldwurm Pure Voice Series at Zankel Hall. 

Ms. Barton deserves every accolade, every standing ovation, every prize she has gotten, and all that audience adulation.  She is every inch a star. We confess that of all the times we have heard her, our favorite moment was up close and personal at the Greene Space of WQXR when we felt like we got to know her in a more personal way. She is truly our Down Home Diva.

(c) meche kroop

VIVA LA FRANCE

Michael Brofman, Kristina Bachrach, Miori Sugiyama, Steven LaBrie, Brent Funderburk, Chris Gross, Jill Sokol, Samantha Malk, and Jesse Blumberg

For their eighth season, Brooklyn Art Song Society is presenting La France, a series of recitals of French art song, a thorough exploration of France's contribution to this compelling art form--a happy marriage of text and music--a condition in which the whole is greater than the sum of its parts.

Last night's well chosen program focused on the music of two titans of this art form, Claude Debussy and Maurice Ravel. The latter was born in 1875, fifteen years after the former and thus his music belongs squarely in the 20th c.

Founder and Artistic Director Michael Brofman not only performs on the piano but wrote the extensive and informative program notes which taught us things we didn't know.  For example, we have heard Ravel's cycle Don Quichotte a Dulcinee many times and Jacques Ibert's cycle Chansons de Don Quichotte only twice without knowing the full story. 

Here it is, courtesy of Mr. Brofman. Film director G.W. Pabst commissioned the cycle for a film he was directing and Ravel's ailing health prevented him from completing the commission; it was then given to Ibert. The three songs Ravel finished were published as a cycle. We are glad to have both!

He also explained why both Debussy and Ravel decried the use of the term Impressionism to describe their music. Their precise compositional style is anything but vague and perceptual but rather deep and descriptive. Beware the tendency to categorize!

For last night's exploration of Ravel and Debussy, Mr. Brofman assembled a stellar group of singers, all of whom are familiar to us and cherished for their contributions to vocal performance. The French was impeccable all around and the Gallic style was consistently captured.

The first half of the program was devoted to the melodies of Debussy. His cycle Chansons de Bilitis belongs to our all time favorites and was finely realized by mezzo-soprano Samantha Malk, whose consummate artistry made the subtleties of interpretation seem natural. 

We remember well the first time we realized that the three songs represent stages of a woman's life and that the singer must evolve from the innocence of girlhood through the sensual passion of young adulthood and on to the disillusionment that comes through the destruction of a shared dream.

This was achieved by Ms. Malk in a way that seemed effortless, with shifts from delicacy to the expansion of tone during the heights of passion. Miori Suiyama's pianism shifted right along with her in perfect partnership. Did we mention that Ms. Malk has a gorgeous instrument with which to accomplish this?

Accompanied by the wonderful Brent Funderburk on the piano, baritone Steven LaBrie entertained us next with the cycle Fetes galantes. The program notes list Mr. LaBrie as a lyric baritone but we heard a lot more going on in terms of texture and resonance. Undoubtedly his voice has grown since we first heard him several years ago and our companion thought he was headed toward bass-baritone. Whatever you call it, we found it mature and rich.

We particularly enjoyed the skillful variety of dynamics in "Clair de lune" in which Mr. Funderburk's piano limned moonlight, splashing fountains, and birdsong. In the first melodie "En sourdine", there was an unmistakeable nightingale in the postlude.

To soprano Kristina Bachrach fell the responsibility of bringing out all the melancholy of the cycle Ariettes oubliees, featuring the poetry of Paul Verlaine (also featured in Fetes galantes). These are mood pieces with "C'est l'extase langoureuse" evoking feelings of sensuality and languor.  Gallic melancolie permeated "L'ombre des arbres" and "Spleen" evoked desperation and vaguely unsettled feelings.

It takes a true artist like Ms. Bachrach to do justice to this cycle with its many shades of grey. Only the central song "Chevaux de bois" is filled with energy. The gayness is deceptive and seems to be masking deep seated feelings of the futility of life. Mr. Brofman's piano was particularly evocative there as the wooden horses turned round and round and, in "Il pleure dans mon coeur", as his fingers made the drops of rain fall.

The second half of the program was devoted to the works of Ravel and we were completely thrilled by baritone Jesse Blumberg's storytelling in the cycle Histoires naturelles, settings of text by Jules Renard. In this cycle, creatures are anthropomorphized for our delight and amusement. The texts are perceptive and indicates the poet's response to each critter.

Along with a true lyric baritone that falls beautifully on the ear, Mr. Blumberg is the possessor of considerable dramatic skills, preening like the peacock of "Le paon", gliding smoothly over the surface of the water like "Le cygne", and tormenting other fowl with defensive intent in "La pintade". 

Who has not had a special feeling of privilege when a wild creature comes close! The fisherman in "Le martin-pecheur" has just had that special moment and Mr. Blumberg and Mr. Brofman at the piano shared that moment with the audience.

Ms. Malk returned for the cycle Chansons madecasses which is rarely performed because of the unusual instrumentation necessary to create the exotic environment of Madagascar. Jill Sokol contributed to the multiple sonorities with flute and piccolo with Chris Gross' cello filling in with its own sensuality. Ms. Sugiyama has the softest hands and plays with delightful delicacy.

The multiple sonorities blended into a sea of sensuality in "Nahandove". "Aoua" is a painful anti-colonial rant and "Il est doux" describes a man lying about wanting entertainment and food from the women.  The melody was haunting.

The final cycle was the aforementioned Don Quichotte a Dulcinee performed by Mr. LaBrie and Mr. Funderburk. The range was a perfect fit for Mr. LaBrie's voice and he sang with deep commitment to the music and the text. "Chanson romanesque" is romantically worshipful whilst "Chanson epique" is spiritually devotional.

The final song "Chanson a boire'" is usually performed by the baritone pretending to be inebriated and staggering around the stage. Mr. LaBrie's take on it was more a celebration of joy and we liked that spin a great deal.

There will be four more concerts this season at the welcoming Brooklyn Historical Society which is easily reached by multiple subway lines. There will also be a bonus concert on December 1st at the Old Stone House, a charming venue.

B.A.S.S. keeps ticket prices low so that everyone can enjoy these recitals, which are always well planned and equally well executed. Those who come at 7:00 can avail themselves of lectures by experts in the field. One always sees a packed house!

(c) meche kroop

EINE UBERRASCHUNG!

Babette Hierholzer, Stephen Tharp, Anne Riegler, and Katrin Bulke at German Forum Concert

The most amazing and wonderful surprise occurred smack in the middle of a compelling concert given by the German Forum in the sanctuary of St. Peter's Church. Phenomenal young baritone Aneas Humm stopped by on his way to the airport to dazzle us with a selection of lieder from Schumann's Liederkreis, with one lone selection from Myrthen.

We first became acquainted with Mr. Humm last year when the German Forum introduced him. His resonance has deepened over the year of concertizing in Europe with collaborative pianist Babette Hierholzer. His interpretive skills have also deepened and he used a full range of colors in his singing, from the expansive "Im wunderschonen Monat Mai" to the fierce "Ich grolle nicht" to the excited "Die Rose, die Lilie, die Taube, die Sonne". The final selection "Du bist wie eine Blume" might just have been part of the cycle; it fit right in. Mr. Humm seems to taste and savor and color every single word without sacrificing legato phrasing.

This was just icing on the delicious cake of a recital as sweet as a Mozartkugel. There was more variety than usual, since a prodigious pianist from Germany was on hand to delight us with several of Ravel's tributes to other composers, and a versatile soprano who showed her skills as a coloratura, and also as an operetta heroine.  Moreover we heard some interesting organ music resonating through this cavernous space which has such excellent acoustics.

Since opera is our thing, let us begin with Ms. Katrin Bulke who electrified the audience with the famous Queen of the Night aria from Mozart's Die Zauberflote. "Der Holle Rache" is known for it's high-lying tessitura and need for pinpoint accuracy. Ms. Bulke fulfilled every requirement, as she did with Amina's sleepwalking aria from Bellini's La Sonnambula, "Ah non credea mirarti" with its stunning cabaletta "Ah non giunge".

Later on, the artist, accompanied by Ms. Hierholzer, gave us two arias from operettas.  We heard Fanny's aria from Johann Strauss'  Die Tanzerin Fanny Eisler--"Draussen in Sievering". It was obvious to us that the requisite technique was no different from that of Queen of the Night. In a more Hungarian vein, we heard "Meine Lippen, sie kussen so heiss" from Franz Lehar's operetta Giuditta. We even got a little barefoot dance, perhaps a Czardas but, who knows!

Accomplished pianist Anne Riegler engaged the audience with her charming introductions to each piece and held our attention with some fine playing. We heard a Sonata by Joseph Haydn with its gloriously contemplative Adagio--and then a tribute to Haydn written by Maurice Ravel, variations written on the letters of his name. 

A frisky and propulsive scherzo by Alexander Borodin was followed by Ravel's brief "Valse a la maniere de Alexander Borodin".  A baroque piece by Francois Couperin was succeeded by Ravel's Prelude to Le tombeau de Couperin.  The concept is an interesting one and the basis for Ms. Riegler's recording, soon to be released in the United States.

And that was not all! Organist Stephen Tharp, stepping in for his indisposed wife, performed the rhythmic and melodic "Toccata for Organ" from Leon Boelllmann's Suite Gotique. But even better was his duet with Ms. Hierholzer on the piano--Cesar Franck's Fugue and Variations op. 18 for organ and piano. Mr. Tharp's refined Gallic melody was played with a reedy sound whilst Ms. Hierholzer supported with dynamically varied arpeggios. This sounded unlike anything we have heard before and delighted us far more than the closing piece--Mendelssohn's Overture to the Oratorio Saint Paul which just sounded like typical church music.

The German Forum continues to impress us with the quality of the talent they unearth from the German speaking world. Membership is now open and worth every penny. We might add that there was also a generous repast of delicacies accompanied by wine and beer. This made for an evening that was nourishing to body and soul. Korper und Seele!

(c) meche kroop

SATURDAY NIGHT SPECIAL--A GLORIOUS M.E.S.S.

Mezzo-soprano Renee Rapier with Verona String Quartet and Lachlan Glen at the piano

We have wanted to share M.E.S.S. with our readers for some time but were sworn to secrecy on this innovative and daring project which seems destined for success.  Tenor Ben Bliss and pianist Lachlan Glen are not just amazing artists but thoughtful and industrious entrepreneurs.  Anyone who attended the year long survey of Franz Schubert's 600-plus song output in one season will know just how dedicated is Mr. Glen and how able to follow through on his ideas.

The idea for M.E.S.S., which stands for Mise-en-Scene Studios, is one which virtually guarantees the further life of opera for the next generation of opera goers and stands a good chance of bringing new life into the art form. The founders are not alone in their goals and several of their ideas have already been put into practice by other companies who are taking opera out of the concert hall and utilizing unusual venues.

What is new about this project is the consideration of every detail within a novel concept that appears to benefit everyone. We all want affordable opera in intimate spaces. We all want to see artists well remunerated for their work. We love the idea of spontaneity of attendance without tying ourselves down a year in advance. We all love the idea of making opera a social event, providing opportunities for artists and their fans to mingle over edibles and libations.

Last night was a great example of what this model will look like. Throngs of young people crowded into a loft, never mind the inclement weather, to enjoy drinks and crepes and music.  And oh, what music! For us, the highlight of the evening was being THIS close to top tenor Ben Bliss singing "Una furtiva lagrima".  It was our first attempt to make a video with our iPhone and it is posted on our FB page Voce di Meche. (This is the same Ben Bliss who starred in Die Zauberflote at the Met which would have seated you as far away as the length of a football field.) His performance of "Maria" from Bernstein's West Side Story was matchless.

There were no "low-lights". We were introduced to mezzo-soprano Renee Rapier who delighted us with Ernest Chausson's "Chanson Perpetuelle" and also sang some cabaret material with beautifully modulated dusky tone and affecting expression-"My One and Only Love", "Orange Colored Sky" and "Dream a Little Dream of Me". The combination of mezzo and tenor is not all that common (We don't believe that Ferrando and Dorabella ever sing together in Cosi fan tutte) but we loved every moment.

The instrumental entertainment was provided by the Verona Quartet who, among a legion of honors, are enjoying their second year as Graduate Resident String Quartet at The Juilliard School. The quartet comprises violinists Jonathan Ong and Dorothy Ro, violist Abigail Rojansky and cellist Warren Hagerty. They performed two movements from Ravel's String Quartet in F Major and, best of all, the first movement of Dvorak's Piano Quintet #2 in A. We would have killed to hear the rest of the work, a personal favorite. Mr. Glen's piano knitted everything together in a terrific tapestry of sound.

Let us not forget Mr. Bliss' performance of two songs by Vaughn Williams which could absolutely change our mind about singing in English. He is a consummate storyteller and made every word as clear as crystal in "From far, From Eve and Morning" and "Bredon Hill".  If he wants to sing an editorial about politics we would still want to listen!

Of course, the purpose of this glamorous Saturday night was not just to wine and dine and entertain us, but to introduce the audience to this novel concept, some elements of which have been borrowed from other successful companies. The business model has been thoroughly worked out. Membership will replace rigid subscription commitments. Adequate endowments will substitute for expensive fundraising efforts. There will be several levels of involvement in M.E.S.S., from free entertainment for students all the way to elite membership for big donors.  Everyone will have a place. Venues will shift. Flexibility will be a key word. There will be no attempt to have "a house". But there will be "a home".

We have counted ourselves in and will keep you, dear readers, informed of future events.  M.E.S.S. expects to have a full season of opera with a resident ensemble company within three years but there will be more events starting in the Spring.

(c) meche kroop

DIVINE DUO

Jared Bybee and Isabel Leonard

Readers will recall in what high esteem we hold the George London Foundation for Singers for their support of young artists. Their excellent series of recitals at The Morgan Library and Museum draws a large and enthusiastic audience who enjoy the music and the opportunity to mingle with the artists after the recital. The annual competition holds its finals on February 17th of 2017 and that will be one of the highlights of the season.

Yesterday's recital joined the talents of acclaimed mezzo-soprano Isabel Leonard, whose talent lights up every venue in which she sings, and rising star baritone Jared Bybee whose artistry garnered him an Encouragement Award last season from the George London Foundation.

We have been  thrilling to Ms. Leonard's artistry since she was an undergraduate at Juilliard. We have heard and enjoyed Mr. Bybee in a number of competitions and also at the Santa Fe Opera.  So we were really looking forward to this recital.  Actually it managed to exceed our high expectations!

Perhaps it's the Argentinean genes that are responsible for Ms. Leonard's exquisite connection with Latin American music but when she feels it, we feel it. She performed four Spanish songs in different moods and varied colors. We were most affected by Manuel de Falla's "Oracion de las madres que tienen sus hijos en brazos"; if there is a more poignant anti-war song we have yet to hear it.

Ms. Leonard's performance of the "Habanera" from Bizet's Carmen made this old chestnut fresh again. There was so much going on in the introduction that we experienced the character in a new way--less arrogant and flashy--and more teasingly seductive.

Bellini must also be a favorite as evidenced by Adalgisa's aria "Sgombra è la sacra selva...Deh! Proteggimi, o Dio!" from Norma. Ms. Leonard manages to walk the fine line between reserve and exhibitionism. Every gesture appears spontaneous but must have been carefully considered. There is no excess; nothing is wasted. Tonal quality, language, phrasing, stage presence--everything is perfect.

We were likewise thrilled with Mr. Bybee's performance, particularly with the depth and breadth of his tone and his linguistic skills. He performed Maurice Ravel's Don Quichotte à Dulcinée in the most perfect French (we understand he studied with Classic Lyric Arts in France). He was effective without showy dramatics, using an admirable economy of gesture.

His phrasing worked well but what impressed us the most was his use of dynamic variety.  One might say that he captured the spirit of each song--the reverence of "Chanson romanesque", the passion of "Chanson épique", and the humor of "Chanson à boire".

We were happy to hear yet more French from him in "Vision fugitive" from Massenet's Hérodiade, in which Hérode is transported by his vision of Salomé. We too were transported.

Mr. Bybee also sang selections from Voices from World War II--a cycle composed by Gene Scheer who had not been born until over a decade after the war ended. Nonetheless he wrote the lyrics himself. The music was more melodic than most contemporary music and the lines rhymed, although the scanning was awkward in places.

Nonetheless, it was given an affecting performance by Mr. Bybee whose English diction is so fine that we missed not a single word. As a woman, we were more affected by the aforementioned de Falla song. Mother love sings better than battle stories! Perhaps the song that made best use of our spiky English language was the jazzy "At Howard Hawks' House".

If you are bringing two terrific talents together, you can expect some delightful duets. From Mozart's Cosi fan Tutte, we heard the wonderful teasing "Il core vi dono" in which Guglielmo wins the heart of Dorabella. Our heart was won by the charm of the scene.

Still more Mozart, also of a teasing nature, was heard in "Crudel! Perche finora" from Le Nozze di Figaro in which the clever Susana fools the not-too-clever Count Almaviva about a subsequent rendezvous. We must say that Ms. Leonard is very very good at teasing!  In both these duets the two artists related extraordinarily well, both vocally and dramatically.

Each artist generously offered an encore. Mr. Bybee chose Salvatore Cardillo's "Cor 'ngrato" (Caterí! Caterí!) which he sang in authentic Neapolitan dialect. Just as Ms. Leonard comes by her facility with Spanish genetically, Mr. Bybee comes by his the same way.

Ms. Leonard's encore was "Someone to Watch Over Me", composed by the brothers Gershwin for the 1926 musical Oh, Kay! This team definitely knew how to use the English language and Ms. Leonard gave it a sincere reading that reinforces our belief that Broadway music, when done well, is truly America's best shot at the genre of "art song". Every phrase was sung for meaning, not for "effect".

The audience absolutely insisted on more and more we got! We rarely get tearful at a recital but this performance of "If I Loved You" from the 1945 musical Carousel turned on the waterworks. Richard Rodgers and Oscar Hammerstein II were another writing pair who captured the American idiom perfectly.

It is many hours later but the mood has lingered. We always enjoy recitals but this one touched us deeply.  And that's a good thing! Why get angry about politics when one can be deeply moved by good music!

(c) meche kroop

A BLISS-FUL RECITAL

Lachlan Glen and Ben Bliss

Our writing skills are insufficient to do justice to the artistry we witnessed onstage yesterday at the recital of the Lindemann Young Artist Development Program. We felt enthralled for 80 short minutes and wanted more. How do we find the words to convey what it's like to have one's heart and soul swept away in torrents of music? We may fail but we must make the effort.

Tenor Ben Bliss has a remarkable instrument, the timbre of which has a near magical effect on the very cells of the body. The phrase "liquid balm" comes to mind. One hears the tone and it's as if one is in touch with the music of the spheres.

Add to this the musicianship--the phrasing, the diction, the pacing--and every song became a mini-opera. Mr. Bliss seems to be so involved with the emotional tone of each song and conveys it so successfully that it becomes a shared experience. We sat with moist eyes, partly from the sheer beauty we heard and partly from identifying with the emotions in many of the songs.

To add to the intensity of the experience we had the piano partnering of Lachlan Glen who touches the keys and thereby touches the heart. He seemed to become one with the instrument and brings forth joy and sorrow, delicacy and passion, each in its own turn.

The first half of the program included songs of Vincenzo Bellini and Ottorini Respighi. The three canzone by Bellini are well known to us and much loved. "Malinconia, Ninfa gentile", "Vanne, o rosa fortuna", and "Ma rendi pur contento", which was rendered with great delicacy. We are sure that Bellini would have loved the interpretations which were imbued with a great variety of color.

As far as the Respighi songs, they belong to the category of songs that we've heard that never made much of an impression on us. All that was changed by Mr. Bliss and Mr. Glen who took them to an entirely new level. 

In "Pioggia", the poet (Vittoria Aganoor Pompilj) speaks of "il tumulto dei colori" and Mr. Bliss sang in such a tumult of colors!  In "Nebbie" the lonely unloved feelings of the poet (Ada Negri) came through with such clarity that we wept. The gradual crescendo led to feelings of near horror at the conclusion. We have written before about how a deeply felt performance can change the way we feel about a song and such was the case.

Franz Liszt's "Pace non trovo" from Tre Sonetti di Petrarca was filled with passion and clearly illustrated the poet's bafflement over his contradictory feelings towards the mysterious Laura. Each feeling came through by means of adept and artistic word coloring. There was a suspenseful pause just before the final pair of lines ("In questo stato son") in which we realized we were holding our breath!

The second half of the program included the participation of The Kleio Quartet: violinists Christina Bouey and Clare Semes, violist Isabel Hagen, and cellist Madeline Fayette. Ralph Vaughan Williams composed the evocative On Wenlock Edge in 1908, scored for tenor, piano and string quartet. The influence of Maurice Ravel is marked. The text is from A.E. Housman's A Shropshire Lad.

The instrumental effects are poignant and add greatly to the tenor's storytelling. We heard "From far, from eve and morning", followed by the very sorrowful " 'Is my team ploughing" in which the texture of cello and piano alternated with the voices of the violins and viola. Mr. Bliss brought out the chilling end, as a storyteller must.

Mr. Glen employed his piano artistry well in "Bredon Hill"; there was no missing the pealing of the church bells. This sad tale had the violins weeping.  And we wept along.

Mr. Glen had his chance to shine in his performance of Ravel's "Jeux d'eau" for solo piano. He addressed the audience and shared that the piece represents the river goddess laughing as the waters of the Fountain of Versaille tickle her. Needless to say, our ears were equally tickled as Mr. Glen's fingers tickled the ivories.  What a performance!

The program closed with a few unusual choices. Mr. Bliss began "As I went down to the river to pray" a capella and with great simplicity.  Then the piano entered and each verse grew in fervor. It became a work of wonder.

Ann Ronnel's "Willow weep for me" was followed by "Orange colored sky" by Milton De Lugg and Willie Stein, a jazzy number that Mr. Bliss sang with flair and more than enough facility with "scat".

As encore we heard in impeccable German the luscious arietta "Magische Töne" from Karl Goldmark's 1875 opera Die Königen von Saba. The music and the words are equally seductive and Mr. Bliss floated the notes of his upper register in a lingering pianissimo. We could feel the "milde abendluft".  Pure Bliss!

(c) meche kroop

HONORS TO ALL

Daniel Fung, Önay Köse, Emmett O'Hanlon

The three Juilliard artists performing at the Vocal Arts Honors Recital last night at Alice Tully Hall are all deserving of the honors bestowed.  Bass Önay Köse stepped in for the unfortunately indisposed soprano Hyesang Park and turned in a fine performance; baritone Emmett O'Hanlon is just a compelling stage animal; pianist Daniel Fung, who played for both, gave superlative support.  Both singers were nominated by their respective teachers to audition for a panel of judges; they chose their own material.

Mr. Köse opened the program with Drei Lieder nach Gedichten von Michelangelo by Hugo Wolf.  Mr. Köse employed his sturdy bass in these profoundly philosophical songs with a large sound that filled the hall with vibrations; but he is also capable of delicacy when called for by the text.  His resonant voice reminded us of stout or porter--dark, rich, heavy in texture.  His German diction left nothing to be desired.

From Modest Mussorgsky, he selected three of the Songs and Dances of Death which we heard him perform almost a year ago.  We especially liked what he did with "Lullaby"; he colored the soothing words of Death with gentleness to relieve a suffering child; he colored the mother's voice very differently, showing her panic.  (We recently heard a famous bass sing these songs and were disappointed that he had missed that opportunity.)  We do not recall Mr. Köse using a music stand last year and hope he will not use one the next time.  Our best guess is that it had something to do with his last minute substitution.

In "Trepak", Mr. Fung had his opportunity to show off some very fine pianistic technique.

Baritone Emmett O'Hanlon seemed delighted to present the second and lighter half of the evening and captivated the audience with a full measure of stage presence.  Maurice Ravel's Don Quichotte à Dulcinée is frequently done but we never tire of its variety and charm.  Mr. O'Hanlon used his body and gestures to complement his fine voice; he definitely knows how to get a song across.  The audience was already chortling before he opened his mouth for the wonderful "Chanson à Boire".

From Ralph Vaughan Williams' Songs of Travel, Mr. O'Hanlon chose two, of which our favorite was "The Roadside Fire".  It seems as if the lovely text by Robert Louis Stevenson with its rhymed couplets inspired some fine melodic writing.  It's a pleasure to report that Mr. O'Hanlon's English was just as intelligible as his French was in the Ravel.

Lee Hoiby's "Last Letter Home" has a most moving text, enough to convince anyone to be a pacifist.  But we fail to see that Mr. Hoiby's music made it any more moving.  On the other hand, Mr. O'Hanlon's delivery was magnificently intense.

Three Strauss songs closed the program: the beloved "Allerseelen", the soul-stirring "Die Nacht" and "Lied an meinen Sohn" which was new to us.  German diction and phrasing were admirable. In the last song, Mr. Fung created quite a storm in the piano, just as he earlier created  an atmosphere of gemütlichkeit in "The Roadside Fire".

© meche kroop

SPOTLIGHT ON JOSEPH LIM

Joseph Lim

Last night's Spotlight Recital as part of "The Song Continues" featured baritone Joseph Lim who has been making quite a name for himself at the Lyric Opera of Chicago and winning prizes from the Met National Council and the Gerda Lissner Foundation.  And he also won the hearts of the audience when his recital encore was dedicated to Ms. Horne herself--the brothers Gershwin's  1927 "Embraceable You".  This entire week has been a celebration of Ms. Horne's (unbelievable) 80th birthday.  As she herself said on Monday "I'm still here!" and we are glad of it.  After her very major opera career she has used her time, energy and talent to guide the next generation of singers and collaborative pianists at The Music Academy of the West.  A big big hurrah for this grande dame!

Mr. Lim's final set of songs was our personal favorite of the hour-long recital.  Ravel's Don Quichotte à Dulcinée offers the singer an opportunity to portray many moods--the grand and the intimate, the funny and the reverent.  Mr. Lim seized the opportunity and ran with it.  In some mighty fine French, he was undaunted by the low-lying phrases and clearly connected with the material.  We loved the delicate decrescendo on the final "amen" of "Chanson épique" and the humorous "Chanson à boire".

His opening set of songs were by Tosti and it took awhile for the unfussy Mr. Lim to open up his creamy baritone and invest the songs with the expansive Italianate style that is called for.  "Non t'amo piu" sat well on his voice and by expressing its passion he demonstrated that he has the goods.

Just this past Saturday night we reviewed Jazimina MacNeil singing Schumann's Liederkreis, op.39 and were delighted to hear it so soon afterward sung by a baritone to different effect.  Mr. Lim's delivery of "In der Fremde" was very moving and in "Zweilicht" we enjoyed some lovely word coloring that we want to hear more of from this fine young singer.  For example, in "Waldesgespräch" we yearned to hear greater differences between the voice of the seductive man and the voice of the Wood Witch.  In any event, Mr. Lim showed fine volume control and lovely phrasing.

We found his German diction somewhat inconsistent.  He was meticulous about pronouncing the final consonants with a few exceptions.  The "er" ending sounded like an "uh" which is commonly called a "schwa".  And the "ich" (the bane of many American singers as well) was on the muddy side.  These tiny quibbles sound nit-picky in the face of the overall delight of the recital but we would feel remiss in letting slide an easily correctable flaw in so fine an artist.

The esteemed pianist, coach and educator Brian Zeger was the collaborative pianist for the recital and, as usual, his playing was sensitive, authoritative and marvelously relaxed.  There is nothing like experience!

© meche kroop

A TRIO WOWS A FULL HOUSE

Ken Noda, Matthew Polenzani, Corinne Winters

The George London Foundation for Singers got their recital series off to a stellar start with yesterday's recital.  The "trio" that wowed a "full house" comprised celebrated tenor Matthew Polenzani, rising star soprano Corinne Winters and beloved collaborative pianist Ken Noda in a well-thought-out program that gave each artist a chance to shine.  We know Mr. Polenzani only from his onstage appearances at the Metropolitan Opera and Ms. Winters only from her enchanting performances with the New York Festival of Song.  What a treat to see and hear Mr. P. up close and personal and to hear Ms. W. treat a New York audience to the kind of singing for which she has been acclaimed worldwide.

She has a rich resonance in her voice, belying the claim that petite singers have petite voices.  She performed a set of songs by Reynaldo Hahn and Camille Saint-Saëns in fine French, employing dramatic word coloring and emphasizing the dark richness of her voice.  In "Dis-moi que je suis belle" from Massenet's Thaïs she conveyed the character's insecurity with total conviction.  We loved Rimsky-Korsakov's "Dreams of a Summer Night" in which a young maiden dreams of a romantic awakening.

Mr. Polenzani mastered all the subtleties of "Wie singt die Lerche schön" in a lovely set of songs by Liszt; our favorite in this set was the gorgeous "Die stille Wasserose" in which the silence between the notes maintained the delicate mood most effectively.  In contrast, "Es rauschen die Winde" was an expression of anguish and loss.  The tenor's secure technique allowed him to immerse himself in the text.  Later in "Pourquoi me réveiller" from Massenet's Werther we felt the hero's heart breaking in passionate lament.  An exquisite diminuendo heightened the effect.  In this French-heavy recital we were delighted that Ravel's Cinq mélodies populaires grecques were included.  Mr. P. showed his humorous side in "Quel gallant m'est comparable" and the audience loved it.  They also appreciated his charming informality, waving to his children in the audience.

We literally could not wait to hear the two artists in a duet and were amply rewarded by the entire St. Sulpice scene from Act III of Massenet's Manon.  Manon, that manipulative bad girl, enters the church where Des Grieux is about to take orders and seduces him away from his religious calling.  Although the voices were perfectly matched, poor Des Grieux is no match for Manon's wiles.  The scene was so well done that sets and costumes appeared in our mind's eye.  Well, not the sets and costumes of the current unloved incarnation at the Met but from an earlier production that we loved and lost.

Another duet was performed as an encore--the one from Bernstein's Candide in which Candide and Cunégonde sing their very conflicting views of what their marital bliss would be.  It was lighthearted and amusing and sent the audience out on a (ahem) high note.  Throughout the recital Ken Noda supported the singers with the kind of attention that we must never take for granted.  We particularly enjoyed the way he conveyed the tinkling of the fountain in the opening chanson "Les fontaines" and the many colors in Rachmaninoff's "Dreams".

We want to urge everyone who loves vocal music to get on board for this tantalizing series of recitals in which the George London Foundation pairs an artist who is a recent prize winner with an artist who was awarded a prize in the recent past.  May they continue forever to award prizes to such deserving artists!

ⓒ meche kroop

A YOUNG ARTIST LAUNCHED

Philip Stoddard

Benedicte Jourdois

Baritone Philip Stoddard launched his graduation recital at Juilliard with Pietro Cimara's  1919 "Canto di Privavera"; a better opening could not be imagined, not only because of its seasonal suitability but because it showcased everything at which this young artist excels.  He has an eagerness to connect with his audience and to share his love of singing which makes everyone in the audience feel included.  He uses his voice well but also employs facial expression and body movement to convey the meaning of the text.  His Italian diction was so clear that the absence of translation was forgotten.  "Open your windows to the sun and your heart to love!"  YES!!!  We will!

 He continued his program of early 20th songs with selections from Ravel's Histoires naturelles.  With great onstage ease, Mr. Stoddard introduced them to the audience so that the uninitiated might listen for the characteristics of each animal in the piano preludes, which collaborative pianist Benedicte Jourdois played so well.  We heard the narcissistic peacock and the industrious cricket, the graceful swan and the striking Kingfisher; but it was the aggressive and scurrying guinea hen that we enjoyed the most.  We wished however that Mr. Stoddard's diction in French matched his superlative diction in Italian.  

We caannot comment on his diction in Russian since that is the one language we do not speak. We can say that it brought his sound forward to a really good place, was well enunciated and sounded musical.  We have been hearing lots of Rachmaninoff lately and have noticed that often the passionate piano parts overwhelm the singer; we were pleased to note here that Ms. Jourdois felt no need to do so and enjoyed the mutuality between singer and pianist.  The sound was lovely and we did wish that we understood Russian.  It was not difficult, however, to decipher the 1902 "Fate", our personal  favorite which Mr. Stoddard performed with great commitment.  Apparently Rachmaninoff was  paying tribute to Beethoven's Fifth Symphony.

Amongst the American songs, we particularly enjoyed Bolcom's "Murray the furrier" which allowed Mr. Stoddard's personality to shine.  Selections from Mahler's Rückert Lieder followed with every emotional nuance given its due.  We loved the pianissimo given to the the word "frbeen hearing lots of Rachmaninoff lately and have noticed that often the passionate piano parts overwhelm the singer; we were pleased to note here that Ms. Jourdois felt no need to do so and enjoyed the mutuality between singer and pianist.  The sound was lovely and we did wish that we understood Russian.  It was not difficult, however, to decipher the 1902 "Fate", our personal  favorite which Mr. Stoddard performed with great commitment.  Apparently Rachmaninoff was  paying tribute to Beethoven's Fifth Symphony.

Amongst the American songs, we particularly enjoyed Bolcom's "Murray the furrier" which allowed Mr. Stoddard's personality to shine.  Selections from Mahler's Rückert Lieder followed with every emotional nuance given its due.  We loved the pianissimo given to the the word "frühling" in "Liebst du um Schönheit"; it was one of those special moments.

As encore, Mr. Stoddard sang "A simple song" from Bernstein's Mass.  We have not said anything yet about his voice; it is a fine instrument but it is the singer's artistry and musicality that gained our attention.  Still in the earliest stage of his career, we trust it will be launched with the same success as the opening of this recital.  We are looking forward to hearing more from this promising young artistartist.artist                                                                                                        © mec

As encore, Mr. Stoddard sang "A simple soPhilip Stoddard
Benedicte Jourdois

Baritone Philip Stoddard launched his graduation recital at Juilliard with Pietro Cimara's  1919 "Canto di Privavera"; a better opening could not be imagined, not only because of its seasonal suitability but because it showcased everything at which this young artist excels.  He has an eagerness to connect with his audience and to share his love of singing which makes everyone in the audience feel included.  He uses his voice well but also employs facial expression and body movement to convey the meaning of the text.  His Italian diction was so clear that the absence of translation was forgotten.  "Open your windows to the sun and your heart to love!"  YES!!!  We will!

 He continued his program of early 20th songs with selections from Ravel's Histoires naturelles.  With great onstage ease, Mr. Stoddard introduced them to the audience so that the uninitiated might listen for the characteristics of each animal in the piano preludes, which collaborative pianist Benedicte Jourdois played so well.  We heard the narcissistic peacock and the industrious cricket, the graceful swan and the striking Kingfisher; but it was the aggressive and scurrying guinea hen that we enjoyed the most.  We wished however that Mr. Stoddard's diction in French matched his superlative diction in Italian. 


We caannot comment on his diction in Russian since that is the one language we do not speak. We can say that it brought his sound forward to a really good place, was well enunciated and sounded musical.  We have been hearing lots of Rachmaninoff lately and have noticed that often the passionate piano parts overwhelm the singer; we were pleased to note here that Ms. Jourdois felt no need to do so and enjoyed the mutuality between singer and pianist.  The sound was lovely and we did wish that we understood Russian.  It was not difficult, however, to decipher the 1902 "Fate", our personal  favorite which Mr. Stoddard performed with great commitment.  Apparently Rachmaninoff was  paying tribute to Beethoven's Fifth Symphony.

Amongst the American songs, we particularly enjoyed Bolcom's "Murray the furrier" which allowed Mr. Stoddard's personality to shine.  Selections from Mahler's Rückert Lieder followed with every emotional nuance given its due.  We loved the pianissimo given to the the word "frbeen hearing lots of Rachmaninoff lately and have noticed that often the passionate piano parts overwhelm the singer; we were pleased to note here that Ms. Jourdois felt no need to do so and enjoyed the mutuality between singer and pianist.  The sound was lovely and we did wish that we understood Russian.  It was not difficult, however, to decipher the 1902 "Fate", our personal  favorite which Mr. Stoddard performed with great commitment.  Apparently Rachmaninoff was  paying tribute to Beethoven's Fifth Symphony.

Amongst the American songs, we particularly enjoyed Bolcom's "Murray the furrier" which allowed Mr. Stoddard's personality to shine.  Selections from Mahler's Rückert Lieder followed with every emotional nuance given its due.  We loved the pianissimo given to the the word "frühling" in "Liebst du um Schönheit"; it was one of those special moments.

As encore, Mr. Stoddard sang "A simple song" from Bernstein's Mass.  We have not said anything yet about his voice; it is a fine instrument but it is the singer's artistry and musicality that gained our attention.  Still in the earliest stage of his career, we trust it will be launched with the same success as the opening of this recital.  We are looking forward to hearing more from this promising young artistartist.artist ng" from Bernstein's Mass.  We have not said anything yet about his voice; it is a fine instrument but it is the singer's artistry and musicality that gained our attention.  Still in the earliest stage of his career, we trust it will be launched with the same success as the opening of this recital.  We are looking forward to hearing more from this promising young artist.artist                                                                                                        © meche kroop