MARILY HORNE SONG CELEBRATION

Ken Noda, Gerald Martin Moore, Javier Camarena, Eugene Villanueva, Mario Chang, Valeriya Polunina, Michelle Bradley, J'Nai Bridges and Warren Jones

Whether we call it "Marilyn Horne's Birthday Week" or "The Marilyn Horne Legacy" or "The Song Continues 2017" it still adds up to be the exciting week in January when we get to celebrate the art of the song recital  Last night's "Marilyn Horne Song Celebration" at Zankel Hall (of Carnegie Hall) delivered the goods, bringing together four rising stars in the vocal firmament and superstar tenor Javier Camarena. The programming was superb and the audience was highly appreciative.

Several of the singers and collaborative pianists are well known to us and have been reviewed multiple times. Readers will recall how exciting it is for us to watch their growth over the half dozen years we have been writing. Among these singers, and standing out in our memory for having delivered a performance of perfection, is mezzo-soprano J'Nai Bridges whose constant appearances at award recitals stands as testament to her talent.

Ms. Bridges has always had a flair for French with consummate skills at diction, phrasing, and the creation of long lyrical lines. Dressed in a slinky turquoise gown that made her look like a mermaid, her voice was as seductive as that of the Loreley of German fame, the one whose compelling voice lured sailors to their doom.  But in this case, the luring was toward acoustic delights. Her interpretation of Claude Debussy's Chansons de Bilitis was right on point. She captured the innocence of the young girl in "La flute de Pan", the developing sensuality of the young woman in "La chevelure" and the disillusionment of a mature woman whose love has gone sour in "Le tombeau des naiades".

Warren Jones' delicate touch served to add to the spellbinding performance, no less excellent in Ernest Chausson's melancholic song of regret "Le temps des lilas" and in two songs by Georges Bizet. We loved the long arching phrases of "Chanson d'Avril" and the "Orientalist" fantasy of "Adieux de l'hotesse arabe" who cannot seem to keep her young European lover. There are endless colors in Ms. Bridges' vocal palette.

Variety of vocal colors seemed to be exactly what was missing in the otherwise fine performance of Richard Strauss' Vier Letzte Lieder by the powerful soprano Michelle Bradley, about whom we have also written before. This is a grand and glowing instrument with great promise and one that will take some time to get under firm control. The composer's swan song comprised the four last songs he wrote that were put together by his publishers. They are autumnal in quality and begged for more variety and gesture. Valeriya Polunina's accompaniment served her well with notable inclusions of the song of larks.

Warren Jones' piano contributed similarly to the performance of baritone Eugene Villanueva, whose talents are new to us. After hearing a set of Brahms songs and a set of Hugo Wolf songs, we have concluded that this fine young singer is far more interesting when he has a character to portray. And Wolf gives the singer plenty of characters! In "Der Rattenfanger", he gave the character a seductiveness of menace, not like Schubert's jolly ratcatcher!  Mr. Villanueva really got into the role and showed a great deal of personality.

A different sort of personality was called for in "Abschied" in which Morike's text describes an unwelcome visit from a critic whom the poet kicks down the stairs with great relish. Mr. Villanueva clearly enjoyed singing these characters and we enjoyed his performance. We would propose that the next time he sings Brahms' lovely "Von ewiger Liebe",  he might put himself into the mind of the cautious young man and the passionately committed young woman. We longed to hear the two voices colored differently. We enjoyed his voice most when he sang pianissimo.

Tenor Mario Chang is another singer we have been enjoying for several years; we were pleased that he chose several Spanish songs. Joaquin Turina's early 20th c. cycle Poema en forma de canciones begins with a selection for piano entitled "Dedicatoria" in which collaborative pianist Ken Noda established an Iberian flavor for the songs that followed, all expressing various ironies of love.

Mr. Chang has some beautiful technique at the ready and we heard a delicate decrescendo in "Nunca olvida". Similar to our critique of Mr. Villanueva, we longed to hear a different color for the woman who expresses her anxieties in "Los dos miedos".  The man narrating should sound different than the woman he is describing.

We heard another notable decrescendo in Tosti's "Ideale", a good choice for Mr. Chang. And we have heard him sing Miguel Sandoval's "Sin tu amor" before and consider it Mr. Chang's signature piece. There were a few times in his performance that he was pushing at the top of his register.  He does not always do this and when he does we wish he would lighten up. He has the notes  and higher doesn't always mean louder.

Such pushing was not heard in tenor Javier Camarena's performance of Liszt's Tre sonetti di Petrarca! So many fine singers have come out of Mexico and he is one of them. His guest appearance with collaborative pianist Gerald Martin Moore was pure pleasure. He has a gorgeous instrument and colors to spare--enough actually for the singers on the program who were deficient in that regard.

His delivery provided all the variety of dynamics one would wish for; he can achieve maximum volume without shouting or pushing his voice. One doesn't often here such an exquisite messa di voce. The depth of his feeling is operatic and we loved it. We are still hearing that long downward sigh in "Benedetto sia'l giorno" and a finely floated high note in "I' vidi in terra angelici costumi".

It was an altogether fine note and a fitting capstone for a week of celebration. Too bad we have to wait another year for a similar celebration.

Lovers of song will find other recitals in other venues--we recommend Steven Blier's New York Festival of Song for a different kind of song recital, and Joy in Singing for yet another. Watch the calendar at Opera America for more.

(c) meche kroop

MARGO GARRETT MASTER CLASS AT CARNEGIE HALL

Margo Garrett, Madeline Skettedahl, and Dorothy Gal

Last night, the second of three master classes was held with esteemed collaborative pianist Margo Garrett providing invaluable instruction to singer and pianist alike. The master classes, if you didn't already know, are part of The Song Continues 2017 at Carnegie Hall, a series of events through which Marilyn Horne does everything humanly possible to advance the art of the song recital.  Young singers and collaborative pianists get an opportunity to perform for a standing room only crowd of lieder lovers and to receive advanced instruction that will take them to the next level.

Last night we heard tenor Ricardo "Ricky" Garcia tackle the very difficult Schubert setting of Goethe's text "Erlkonig". What makes the song difficult is that the singer must assume several voices--that of the narrator, that of the father, that of his child, and that of the evil Erl King. Much of the momentum of the father's mad ride is supplied by the piano-- in this case, by Nathan Raskin. Ms.Garrett pointed out that the Germans love stories, especially supernatural ones!

We sensed that Mr. Garcia wanted to convey the different voices but was not totally successful, except for his appropriately colored baritonal father.  After some coaching, he was able to make the narrator less passionate and more even. The child needed a lighter but frightened sound, while the Erl King needed a measure of seductiveness. The father needed to be more tender and legato.

An interesting method of practicing this was given--the singer can sing all the lines of one of the characters in succession in order to master the build up of intensity for that particular character.  After establishing the vocal arc of each particular character, then the entire piece can be put together. This makes perfect sense and is a point we will be thinking of every time we hear a song with more than one voice.

It was a lovely dramatic experience to hear soprano Caitleen Kahn perform a satirical and allegorical song by Dmitri Shostakovich entitled "Misunderstanding".  It was the story of a rake who mistakes a woman's recitation of erotic poetry for an invitation to intimacy. Ms. Kahn is a born storyteller and had a very clear understanding of the background of the song's composition and the text as well.

She was coached to use her voice and face as well as gestures to convey the sense. Pianist Zalman Kelber got some valuable tips about achieving a less obvious doubling of the vocal line. An equally valuable tip for the singer was to practice singing into the piano (with the lid raised high, of course) with the piano playing octaves above and below. These are the "pearls" that only a master of coaching would know!

Bass-baritone Ted Pickell performed "Wenn ich mit Menschen und mit Engelszungen redete" from Brahm's Vier ernste Gesange, accompanied by Katelan Terrell. Mr. Pickell has a marvelous instrument to work with but needed coaching in putting some feeling into the text. Ms. Garrett suggested that he focus on the loving feelings. We were not feelin' it! To us it just sounded like preaching, which, of course, it is--Paul preaching to the Corinthians.

Ms. Terrell needed to lighten up on the keys and Mr. Pickell needed more color, more contrast between verses, and more attention paid to the consonants, particularly the double ones.

The evening ended with soprano Dorothy Gal, whom we have heard and enjoyed in French and Italian songs. She sang Hugo Wolf's "Geh, Geliebter, geh jetzt!" in which a woman urges her beloved to leave before he is discovered.  Clearly she doesn't want him to leave! The song is notoriously difficult with its syncopated rhythms and off-kilter entrances for the singer. This gave Ms. Garrett an opportunity to bring up a most interesting concept.

This is the issue of whether the pianist leads the singer or vice versa. In this case, the pianist must be led by the singer's entrances. Collaborative pianist Madeline Sletterdahl was instructed to emphasize the left hand over the right one.

Ms. Gal was given advice to be clearer with the consonants. We had a piece of advice for her ourself. We would like her to complement her lovely voice with some meaningful gestures. She seemed not to know what to do with her arms and hands and the gestures that were made seemed not to connect with the text. That addition would make her performance perfect.

There will be one more master class tonight--Dame Felicity Lott. We will be there with thirsty ears!

(c) meche kroop

MARILYN HORNE MASTER CLASS AT CARNEGIE HALL

             Brittany Nickell

Wee Kiat Chia

Noragh Devlin

Alexandra Smither

 As part of The Song Continues 2017, Marilyn Horne led a standing room only master class at Carnegie Hall. Four young singers and four collaborative pianists got to show their stuff and pick up some very valuable tips from Ms. Horne, who is concerned that song recitals are an endangered species. When Ms. Horne was a young artist, she gave song recitals in all fifty states! She feels that it's important for young artists to know the song literature and how to perform it.  We couldn't agree more.

Two of the four singers were well known to us from Manhattan School of Music where we reviewed their performances on the opera stage. We were impressed with them then (and hope you will use the search bar to read those reviews from the past three years) and were delighted to hear them perform in recital mode.

Soprano Brittany Nickell has a generous sound and seems to have quite a future singing roles that call for a sizable voice. Last night we heard her sing two songs by Strauss, one very familiar one from Vier Letzte Lieder--"Im Abendrot". She was coached to make her consonants crisper and her vowels more accurate. Variations of color and dynamics were addressed. We loved the advice to "enjoy the melisma" on the word "milder".

Ms. Horne's comment about "Schon sind, doch kalt die Himmelssterne" was that it was one of Strauss' "B songs" and that every set should include both well known songs and lesser known ones.  That's a point to which we have never given much thought, but it does make perfect sense.  Ms. Nickell should have a lot of Strauss in her future.  Her collaborative pianist was Nathan Raskin.

Mezzo-soprano Noragh Devlin has been reviewed by Voce di Meche four times previously and we have always appreciated her richly textured instrument and convincing dramatic gifts. She brought all this to bear on her performance of Mahler's "Um Mitternacht", with  CP Katelan Terrell gamely trying to create the orchestration on the piano. Ms. Devlin is a true mezzo and her coaching involved the advice to start pianissimo and to "belt" at the end. She was advised to take more breaths and even to take a breath between "Mitter" and "nacht" at the end, in order to give full measure to the climax.

Soprano Alexandra Smither elected to perform Schumann's setting of Goethe's "Kennst du das Land", which has been set by all the important composers of lieder in the 19th c.  Ms. Horne's coaching brought out all of the pathos, especially in the places where she was advised to take her time.  Ms. Smither was accompanied by Madeline Slettedahl.

We love the counter-tenor fach but we confess to being rather confounded by the choice of material made by Wee Kiat Chia. Xavier Montsalvatge's "Cancion de cuna" from Canciones Negras involves a mother lulling her baby to sleep. We have no problem with gender bending but it seems to work better as a source of humor. Mr. Chia was coached to feel the rocking rhythm in his body.

His other choice was Robert Schumann's "Ich grolle nicht" from Dichterliebe. He was coached to keep the sound forward, to watch out for double consonants, and to keep the momentum--advice that was also given to the other singers on the program. His CP was Zalman Kelber. We speculated that Mr. Chia wanted to do something different and we always applaud risk taking. But for our ears, we would prefer to hear him in some Handel!

(c) meche kroop