- HOME
- NEWS
- SPORTS
- BUSINESS
- FYI/LIVING
- ENTERTAINMENT
- OPINION
- JOBS
- CARS
- REAL ESTATE
- RENTALS
- CLASSIFIEDS
- SHOPPING
- EXTRAS
Posted on Sat, Oct. 31, 2009 01:07 AM
Review | Deborah Voigt impressive in wide range of art, opera song
More News
Reigning Wagnerian soprano Deborah Voigt presented an impressive array of musical jewels from the repertoire of both opera and art song in her Friday night recital at the Folly Theatre. Opera fans the world over have followed the rising star of the diva as she has taken on ever-increasingly difficult roles, and is now preparing to sing the role of Brunnhilde for the Met’s 2012 production of the Ring Cycle. In her Kansas City recital for the Harriman-Jewell Series, Voigt shared an evening of intimate music-making with versatility that one would not expect to find from a specialist of dramatic opera. Nuance, engaging candor and honky tonk were but a few of the elements of the extraordinary evening.
Voigt opened the program with Amy Beach’s The Year’s at the Spring, given an exciting delivery in Voigt’s rich, warm tone that filled the Folly to the brim. The American art songs by Amy Beach, Benjamin Moore and Leonard Bernstein are featured on an Angel/EMI CD Voigt recorded with pianist Brian Zeger entitled All My Heart: Deborah Voigt Sings American Songs, awarded “Best of the Year” for 2005 by Opera News.
Throughout the evening enunciation was clear, with Voigt’s use of dipthongs in the American songs effective. Highlights of the evening included nuanced tone painting in Nebbie from the set of three Respighi songs, and radiant exhilaration in Wagner’s Dich, teure Halle from Tannhäuser. Voigt began her charming ad libs when she announced Puccini’s Vissi d’arte from Tosca. When applause broke out, Voigt quipped, “I haven’t sung it yet, so don’t get excited.” But they were right – it was exciting. Voigt’s impeccable timing is world class.
A set of Richard Strauss songs opened the second half, showcasing Voigt’s high range. Pianist Brian Zeger was the perfect artistic partner. At no point did the Steinway, propped open to the max, overpower the soloist, although it was given an excellent working over in the extraordinarily virtuoso orchestral reductions, delivered with great artistry by Zeger. My favorite song of the evening was Strauss’ Fruhlingsfeier, with its flashing piano arpeggio opening and Voigt’s dramatic anguish.
Three encores were given the enthusiastic audience, including the Ragtime song ‘I love the piano’, in which Voigt sang and played the honky tonk top part at the piano with Zeger.
Posted on Sat, Oct. 31, 2009 01:07 AM
@Nyx.CommentBody@