Pro Musicis presents Solange Merdinian in Review
Solange Merdinian, mezzo-soprano
Joel A. Martin, piano
Weill Recital Hall at Carnegie Hall, New York, NY
December 15, 2021
Weill Recital Hall was the venue for yet another fine presentation from Pro Musicis this week, featuring 2019 prize-winning artist Solange Merdinian. Ms. Merdinian offered a program celebrating her Armenian-Argentinean heritage, with some Cole Porter and Kurt Weill added to the mix. Ms. Merdinian said she chose composers who are well known in their native lands, but less well known elsewhere. One can make the case that Komitas and Guastavino, while not “household” names, are known to many, but it is certain that Ashot Satian, Parsegh Ganachian, and Carlos López Buchardo are names new to most listeners (including this one). It is almost always a pleasure to be introduced to music one would not hear otherwise, and Ms. Merdinian’s performances were both educational and artistically fulfilling.
Ms. Merdinian of course possesses all the attributes one expects of a contest winner – a stage presence that is confident and polished, a voice that projects well without strain, and exceptional intonation and diction. What sets Ms. Merdinian apart from most is her remarkable versatility. While most singers can (and do) venture away from their “comfort zones” it is usually apparent that they are doing so, i.e. Opera singers doing cabaret but sounding like opera singers doing cabaret – not so in the case of Ms. Merdinian. Whatever style she is singing in is completely compelling as if it is her “main” style, which might seem unremarkable, but it is something that few are capable of pulling off so convincingly. I also had the unmistakable impression that Ms. Merdinian was “in the zone” and that only the complete shutdown of concerts had prevented her from unleashing her obvious passion for these songs on the concert stage. When finally given the opportunity to do so the energy she radiated filled the hall and fired up an already enthusiastic audience.
The recital opened with five Armenian Songs as arranged by Ms. Merdinian’s pianist Joel A. Martin. A candle was placed at the front of the stage and lit (or one should say turned-on, as it was battery-powered ). Surprisingly Mr. Martin entered alone, bowed and sat at the piano. The hall was darkened and he began to play as one heard a voice in the distance, gradually sounding closer as Ms. Merdinian entered. It was a stirring effect, and her voice was hauntingly beautiful. The ideas of longing, heartache, loss, and recovery were the overarching themes of this set, delivered with an intensity that was devastating in its effect. It was a powerful start to the evening, which Ms. Merdinian explained was not her usual way of opening, but she felt the need to acknowledge the tragedy of loss due to the pandemic. Of the five songs, Mardigi Yerk (Soldier’s Song -“I flew in my mind”), by Ashot Satian, was this listener’s favorite. My one quibble was that there was very little break between songs, making it hard for one who does not speak Armenian to distinguish one from the next. I understand that they functioned as a set that Ms. Merdinian did not want to be interrupted by applause, but a note in the program would have lessened the confusion.
The remainder of the first half took on a lighter and often joyful tone. Five of the Seis Canciones from Eduardo Toldrà followed the Armenian songs. They are filled with sunny optimism and the feeling of young love, and it was impressive how Ms. Merdinian so effortlessly moved from the emotional weightiness of the Armenian songs to the ethereal Cantarcillo and the heart-racing excitement of first love in Después que te conocí.
Two art songs, Rocío and Meciando, by Carlos Guastavino followed. Guastavino had an undeniable gift for melody and these songs showcase that gift. As Gustavino is known to have said, “I love melody, I love to sing. I refuse to compose music only intended to be discovered and understood by future generations.” Ms. Merdinian’s voice was made for these songs, and it is good to see a composer who is overshadowed in this country by his countrymen Piazzolla and Ginastera being heard and appreciated.
The first half ended with Jujeña by Carlos López Buchardo. Filled with sunny cheer and the innocent joy of a young girl who doesn’t have a cloud in her sky, Ms. Merdinian became that young girl, swaying and dancing happily, while her heart pours out unbridled excitement and wonder about the world. The duo projected it with élan, and it was a dynamic ending to the half.
After intermission. Ms. Merdinian offered what she calls her “Musical Salon.” Shifting to cabaret, she transformed into a world-weary chanteuse for three songs (I’m a Stranger Here Myself, Complainte de la Seine, and Je ne t’aime pas) by Kurt Weill. While I am not always simpatico with Weill’s often ultra-cynical style, these selections were, much to my surprise, highlights of the night for me. Of the three, the last, Je ne t’aime pas was my favorite. Ms. Merdinian conveyed the efforts of one who is desperately trying to convince herself that she no longer loves someone when it is plainly clear that she does, and that the harder she tries, the more apparent the love is. The final line, Je ne t’aime pas! was delivered with such a burst of passion that one could feel their own heart breaking. One wasn’t sure if they should applaud her, or console her!
The Cole Porter standards Let’s Do It and It’s De-Lovely were fun romps, with Ms. Merdinian delighting (or is that De-Lighting?) the audience with some playful changes to the lyrics that drew laughter.
Let’s take a moment to recognize pianist Joel A. Martin, a star in his own right. From his smart and stylish arrangements to his superb pianism, infused with panache, he is an ideal collaborator. His musical rapport with Ms. Merdinian was outstanding.
Three songs, Chiquilín de Bachín, Nalada para un loco, and Siempre se Vuelve a Buenos Aries, by the master of the tango, Astor Piazzolla, ended the evening. Ms. Merdinian transported the audience to the cafés of Argentina in a perfect end to a wonderful concert. With a final flair of vocal gymnastics, the audience roared approval with a raucous standing ovation. Ms. Merdinian is an artist to watch, and I wish her continued success in her future endeavors.
