Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Amy Owens and Michael Barrett Unearth Rare Treasures from the Leonard Bernstein Archive

Like all great singers, soprano Amy Owens gets asked to cover a lot of territory. In her case, that means more than just racking up the frequent flier miles: she’s as nuanced and breathtakingly powerful with soul and cabaret music as she is in the classical realm where she’s best known. Her latest album with pianist Michael Barrett, It’s Gotta Be Bad to Be Good: Songs of Leonard Bernstein is notable for plenty of reasons. Bernstein fans are going to want it because there’s previously unreleased material on it: after all these years, you’d think that the Bernstein archive would have been completely plundered.

But actually not. Barrett worked closely with Bernstein in his later years and was able to enjoy unprecedented access to the maestro’s work, including his lesser-known repertoire as a songwriter. Unssurprisingly, this material has the same vast eclecticism, unselfconscious emotion and often great wit of the rest of Bernstein’s oeuvre. The album is just out and hasn’t hit the usual online spots yet- watch this space.

If you’re wondering how the duo could pack a grand total of 26 songs onto a single cd, everything here, other than a big showstopping coda from Candide, is either a miniature or close to it, nothing beyond the three-and-a-half minutre mark and many clocking in at less than two

There’s a misterioso slink along with a sotto-voce glimmer in Barrett’s playing in the opening title track: Owens cuts loose with a little tantalizing vocalese at the end. That calm/dramatic dichotomy recurs often here, from The Madwoman of Central Park: My New Friends, to the dips and mighty operatic peaks of that big tour de force Glitter and Be Gay, from Candide.

Of the unreleased material here, there are two takes of My Baby’s Baby, a poignant, muted nenromantic waltz. And Re La Mi shifts from arresting chromaticism to Debussy-esque lustre in just over two minutes.

Three songs from Peter Pan are infused with longing, arioso angst, and Owens walking the line between propriety and romantic ache. The two edge toward phantasmagoria in the miniature Jupiter Has Seven Moons, one of the five short pieces in the irresistibly funny suite I Hate Music. That’s where Owens gets to indulge her brassy side.

The duo tackle challenging Messienic tonalities iand tricky rhythms in Little Smary. The contrasts in Dede’s Aria, from A Quiet Place, in particular, are sharp and striking. Barrett winds up the album with six of Bernstein’s Anniversaries: short instrumentals the composer accumulated and doled out to friends on special occasions, or employed as eulogies.

At a Manhattan house concert last month staged by writer Philip Howard, Owens and Barrett not only delivered electric versions of many of the album’s highlights: they may have made history. Bernstein was always having friends over to share songs, but has there ever actually been a show devoted exclusively to Bernstein songs and solo piano instrumentals anywhere in this city, at least in the last few decades?

Owens’ next East Coast appearance is on May 18 at 8 PM, singing Beethoven’s Ninth Symphony with the Norwalk Symphony Orchestra.

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May 2, 2019 Posted by | classical music, Music, music, concert, opera, review, Reviews | , , , , , , , , , , , , , , , , , , , , , | Leave a comment

The New York Festival of Song Transcends Category

For almost three decades now, the New York Festival of Song has staged many concert series around town that fall loosely under the category of art-song. Some of the material is on the operatic side, some veering toward cabaret, occasionally venturing toward art-rock or further to the edge of the avant garde. While the most recent one last week was staged at the National Opera Center, both the bill and the performance were characteristically eclectic.

Composition-wise, it was no surprise that the high point of the evening would be a triptych of text from Hamlet, brought to life with a vividly acidic austerity by Amy Beth Kirsten. Soprano Justine Aronson gave it an aptly grim, arioso rendition over brilliantly diverse pianist Thomas Sauer‘s haunting, bell-like resonance. The night’s funniest moment was a snarkily ridiculous portrait of a paparazzi (or someone who seems to want to be one) written by jazz piano luminary Fred Herschalso performed by Aronson and Sauer. Aronson later brought  richly nuanced, poignant vocalese to a setting of an Elizabeth Bishop poem by composer Russell Platt, pianist Michael Barrett adding a nocturnal lustre.

Harold Meltzer, who’d organized the night, was also represented by an unorthodox series of chamber ensembles featuring both acoustic guitar and mandolin: his circular, Reichian riffs and spacious phrases were the bill’s most modern elements. Aronson and Sauer delivered a dynamically-charged, crescendoing triptych by James Matheson whose idioms spanned from the baroque to the neoromantic. Mezzo-soprano Mary Nessinger took a Scott Wheeler setting of Wallace Stevens straight into grand guignol. And toward the end, Aronson again teamed with Barrett for a droll litany of “ark luggage” (flea powder and champagne included on the list) by David Lang.

The next concert in NYFOS’ current season is at Merkin Concert Hall on April 14 at 8 PM, a Spanish-inspired bill with music of Shostakovich, Taneyev, Wolf, Schumann, Granados and others, sung by soprano Corinne Winters and tenor Theo Lebow, with Barrett or Steven Blier at the piano. There’s also a spring gala at Carnegie Hall and the more informal, theatrically-infused ongoing series uptown at Henry’s Restaurant at 2745 Broadway.

April 3, 2014 Posted by | avant garde music, concert, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , | Leave a comment