LINDEMANN RECITAL

Kidon Choi, Zalman Kelber, Ian Koziara, Nate Raskin, and Rihab Chaieb

Once again, we are in the position of singing the praises of the Lindemann Young Artist Development Program. Regular readers are familiar with the high esteem in which we hold this program. Since singing praises is not what you are here for, let's talk about the actual singing.

There were three splendid singers and two sensitive collaborative pianists on the program, all of whom we have reviewed before, all winners of various competitions, all with great futures ahead of them. That they all have terrific technique is a given, so let's take a look at their artistry, the interpretive technique that kicks their vocal skills up a notch. All three singers had performed their own translations which generally leads to a convincing delivery.

Mezzo-soprano Rihab Chaieb had just the right manner of conveying the sense of the Apollinaire poetry that Francis Poulenc set so aptly. There are several moods expressed in  Banalités and our preference was for the most banal of all. Ms. Chaieb knew exactly what she was singing about and the languorous line of  "Hôtel" was just about perfect. The very brief "Voyage à Paris" was nothing short of sheer delight, filled with the charming notion of escapism.

Her collaborative pianist Nate Raskin was with her cent pour cent, employing just the right light touch for these chansons.

Later in the program, tenor Ian Koziara performed Tel jour, telle nuit, a collection of nine Poulenc songs, settings of text by Paul Éluard. Mr. Koziara introduced the songs by admitting that they sound like nonsense and, indeed, that is exactly how the surreal poetry struck us.

If his French had not been so fine, we might have had an easier time of pretending that it was a language we didn't know but that is exactly what we had to attempt. We just paid attention to the fit between the sound of the voice,  and the sound of Zalman Kelber's lovely piano. The two artists matched each other beautifully, especially in the energetic "À toutes brides" and in the gentle  "Une herbe pauvre".

Mr. Kelber's piano was most impressive in "Figure de force brûlante et farouche". The song that most approached comprehensibility was "Nous avons fait le nuit", a paean to a beloved. Here, the appealing nature of Mr. Kozaria's instrument stood out.

Baritone Kidon Choi performed three songs from Mahler's Des Knaben Wunderhorn, putting us on more familiar territory. We are far more familiar with the "cute" songs from this collection, which often have an edge, but the songs chosen by Mr. Choi were filled with horror and heartbreak.

It is one thing to speak out against war but hearing the three personal tragedies of which he sang grabbed us by the throat and never let go. These are difficult songs to get across but Mr. Choi succeeded admirably by dint of being very involved. Through his eyes, we could see "Der Tamboursg'sell" being led to the gallows.  He used intense dynamic variations with a heartbreaking pianissimo on "Gute nacht"; Mr. Kelber's piano provided the grumbling drumrolls.

We liked the way Mr. Choi softened the color of his hearty baritone when he portrayed the girl welcoming what we took to be the ghost of her soldier-lover at dawn in "Wo die schönen Trompeten blasen". And Mr. Kelber nailed the interesting figures in the piano.

The powerful intensity continued throughout "Revelge" in which a fallen soldier has no one to carry him back to his quarters.  His mates are marching as skeletons.  It was completely chilling.

Fortunately, we were not sent back out of the Bruno Walter Auditorium in that mood of despair.  Ms. Chaieb closed the program with a set of songs by Sergei Rachmaninoff, each and every one a beauty. We always love songs about nature and about love!

In "Lilacs", Ms. Chaieb was so present that we could inhale the fragrance of our favorite flower. We have walked along Lilac Walk in Central Park every May and June, just to have the experience that this artist created so successfully.  

The only song that wasn't joyful was "Do not sing, oh beautiful one"; but there is pleasure to be found in sadness also, especially when the melody is so haunting and sung with such longing.  The recital ended with the very appropriate "Spring Waters", given an ecstatic delivery by Ms. Chaieb and Mr. Raskin. Gorgeous and timely!

(c) meche kroop 

ANOTHER LINDEMANN TRIUMPH

Petr Nekoranec, Valeria Polunina, and Hyesang in Lindemann Recital

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

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

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

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

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

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

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

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

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

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

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

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

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

(c) meche kroop

LINDEMANN RECITAL

Julia Pilant and Petr Nekoranec

For those of you who don't know, the Lindemann Young Artist Development Program was created in 1980 by James Levine to identify and develop extraordinarily talented young singers, coaches, and pianists. Those fortunate enough to get accepted have access to all the resources of The Metropolitan Opera and, since 2010, to Juilliard School as well. These young artists are in demand all over the world, as well as onstage at the Met.

Friday evening was spent at the Bruno Walter Auditorium to enjoy one of their recitals. We went for the voices and the voice that captured our attention first was that of the French horn. We have always loved the sound and getting up close and personal for the first time allowed us to see how vocal an instrument it is and how sensitive. Valves must be removed and drained, for example. To play it is difficult.  To play it well is quite a gift.

The recital opened with Britten's Serenade for Tenor, Horn, and Strings, Op. 31--with nary a string in sight. Apparently someone who was uncredited in the program had arranged it for tenor, horn, and piano. We had no interest in the text but we surely did enjoy the artistry of the performance. The work is moody and elegiac but is punctuated by muted announcements from the horn, which brought the work to life. For the Epilogue, the horn was heard from offstage, a very special moment. 

Petr Nekoranec, in his first year of the Lindemann Young Artist Development Program is the possessor of exactly the type of tenor we most enjoy. It is a sweet sound but with a rich texture; moreover his English diction (thanks to English Instructor Patricia Brandt and coach Jocelyn Dueck) is exemplary and puts to shame that of native American speakers. We enjoyed the melismatic passages of the Sonnet movement.

Giuseppe Mentuccia's piano wove together the voice and the horn and the entire work was well-balanced. We are looking forward to hearing Mr. Nekoranec sing a work in which we can appreciate the unique qualities of his voice. We imagine that Dvorak's songs would be lovely. 

The program for this recital was a challenging one, both for the artists and the audience. We are sure there were people in the hall who enjoy Olivier Messiaen but we are not among them. There are works that grow on you with repeated exposure and there are works that never capture one's affection. Poemes pour Mi are in the latter category.

That being said, The composer's sincerity was matched by the equally sincere performance of soprano Clarissa Lyons. She sang with fine French diction  and made sense of the text which she had translated herself. Fortunately she appeared later in the program singing Joseph Haydn's concert aria "Berenice che fai", a passionate work with different colors in each section. Her voice is well centered from top to bottom and beautifully phrased. It was altogether a polished performance with excellent support from pianist Valeriya Polunina who has a delicate touch.

The third pair of artists on the program comprised tenor Ian Koziara with pianist Zalman Kelber. Uh oh! More Britten! On This Island is another work we are not adding to our hit parade. Mr. Koziara has a large powerful dramatic tenor with plenty of strength in the lower register. We would have liked to hear him sing some Verdi. Mr. Kelber's piano was insistent in "Now the leaves are falling fast" and gently rippling in "Seascape".  Perhaps "Nocturne" had the loveliest melody.

As far as 20th c. music goes, Frank Bridge's setting of Mary Coleridge's "Love went a-riding" was unusually accessible and pleasing to the ear.  For Wagner's "Traume", one of the Wesendonck Lieder, we would have preferred a lighter vocal touch. There is plenty of Wagner more suited to such a hearty voice.

(c) meche kroop