DCINY (Distinguished Concerts International New York) presents Deborah Popham, soprano in Review
DCINY Distinguished Concerts Artists Series presents Deborah Popham
Ben Harris, piano
Weill Hall at Carnegie Hall, New York, NY
December 7, 2015
Distinguished Concerts International New York (DCINY) is renowned for their large-scale concerts featuring artists from around the globe, but what might not be as well known is they also present talented small ensembles and soloists in their Distinguished Artists Series. The latest featured artist in the series was soprano Deborah Popham, who appeared in recital at Weill Hall at Carnegie Hall on December 7, 2015.
For the sake of full disclosure, this reviewer was not present on that date, but was sent an unedited recording of the performance. As I have stated in the past when reviewing recorded concerts, my modus operandi is to listen a single time as if I were present, believing this to be the most objective manner in which to review.
The first thing one notices when viewing the program is that Ms. Popham has selected an eclectic mix of works- the first half consisting of songs from Reynaldo Hahn, Ottorino Respighi, and Sergei Rachmaninoff, the second half consisting exclusively of America composers – Ben Moore, Richard Hundley, Samuel Barber, Irving Fine, and Lee Hoiby. The text for each song was included in the program, with English translations for the Hahn, Respighi, and Rachmaninoff – something that should be a standard, but sadly is rarely done.
Four songs by Reynaldo Hahn opened the program. À Chloris (To Chloris), a song with a Handelian feel about it, provided a lovely opening. One was only occasionally distracted by Ms. Popham’s unusually wide vibrato, which sometimes affected one’s comfort with the pitch. Ms. Popham has a strong voice and a confident approach in the high Romantic works, but one sometimes wanted more delicacy. Quand je fut pris au pavilion (When I was caught in the pavilion) enlivened the mood, while L’enamourée (The Enamored One) – a song with much more Romantic “heart on sleeve” expressiveness, was well suited to Ms. Popham’s expansive style. The set closed with Ms. Popham at her most impassioned in Dans la Nuit (In the Night).
A delightful grouping of Respighi songs from Deità Silvane (Woodland Deities) followed. Highlights were Musica in Horto (Garden Music), which was colorful and exotic, suggesting sounds of little cymbals and flutes, and Acqua (Water), evoking water through tone-painting as Respighi knew so well how to do. The vocal writing exploited the best of Ms. Popham’s upper treble range in phrases that swooned, and Crepusculo (Twilight) captivated with its gentler moments, particularly in the piano part played by Ben Harris. The great forte swells in the vocal part verged on stridency at times, but this is almost an occupational hazard in this repertoire.
The musical language became even more luscious in the Rachmaninoff that followed. Ms. Popham seemed very comfortable with Rachmaninoff’s exquisite vocal writing. The rather early work Ne poj krasavica, pri mne (Do Not Sing, oh Beauty, to Me), Op. 4, No 4, opened this set and was given an outstanding performance by Ms. Popham. Na smert’ chizhika (Spring Waters), Op. 21, No. 8, was also quite beautiful. The extravagant Romanticism of Vesenniye vodi (Death of a Linnet), Op. 14, No. 11, employed some virtuosic writing for the piano, which was well navigated by Mr. Harris, and ended the first half in fine fashion.
A set by American Ben Moore (b. 1960) entitled So Free am I opened the second half. The composer states, “The cycle consists of settings of poems addressing women’s experiences by women authors from various times and cultures,” but also, “To me, this set is not about the oppression of women throughout time, but rather the freedom in being liberated from the ties that bind.” It is really the “ties that bind” which set that theme of liberty in relief. Starting with the exuberant Mutta (by Indian Buddhist nuns) depicting the casting away of restrictions, it was well suited to Ms. Popham’s extroverted temperament. Interlude (text by Amy Lowell) was well sung by Ms. Popham, who captured the shape of the work quite well. Orinda Upon Little Hector Philips (text by Katherine Philips), dealt with the heartbreaking subject of losing one’s child. By this point, one wonders whether the emotional saturation in the program might not have been a case of diminishing returns. Perhaps each song like a gem might have shone more brightly with a bit of black velvet behind it. That said, some relief came in the form of Nervous Prostration (text by Anna Wickham). The Poem as Mask: Orpheus (text by Muriel Rukeyser) was the least effective of this set, through no fault of Ms. Popham. Mettika, a very beautiful setting to a text about growing weak and tired, seemed not a specifically feminine subject, but one of universal appeal. Closing with the words “over my spirit blows the breath of liberty” the spirit of the opening exuberance of the cycle was recaptured.
The last set of songs all centered on the theme of animals, an entertaining idea that was to serve to lighten the mood. Ms. Popham showed a playful, whimsical side, “letting her hair down,” so to speak. It was the musical equivalent perhaps of a “victory lap”, as Ms. Popham had tackled this ambitious program with complete success, and was going to enjoy herself. Suffolk Owl by Richard Hundley (b. 1931) kicked off the fun, followed by Samuel Barber’s much-loved A Monk and His Cat. The Frog and the Snake (text by Gertrude Norman) by Irving Fine (1914-1962) was brimming with humor, and The Serpent (text by Theodore Roethke) from Lee Hoiby (1926-2011) ended the half and the concert in winning style. The audience gave Ms. Popham loud and prolonged applause.
