Pro Musicis presents Rachel Schutz in Review
Rachel Schutz, soprano
Timothy Long, piano
Weill Recital Hall at Carnegie Hall, New York, NY
November 8, 2021
Weill Recital Hall was the venue for yet another fine offering from Pro Musicis this week, featuring prize-winning artist Rachel Schutz. Ms. Schutz has an impressive list of credentials, and her program of works which one would normally not expect to hear in a winner’s recital, including one world premiere, added a layer of interest for this listener.
Ms. Schutz writes about how she came to deciding her program in the context of the upheaval of this trying time, opting for works that, “… can take strength from hearing the stories of others as they overcame difficulties, cultivate resilience, and find solace and power in the arts.” One could say that her choices were well-matched to her intention, however her inclusion of the Rachmaninoff Six Songs, Op. 38 as linked to the Russian Revolution of 1917 might be seen as a bit of a “shoehorn,” as these songs were composed in 1916, when Rachmaninoff could not have known how his country’s turbulence would impact his life and work. That being said, they are a welcome addition to any program!
Ms. Schutz opened with music by African-American composer Margaret Allison Bonds (1913-1972), entitled Songs of the Seasons and set to the poetry of Langston Hughes. The four songs, written in 1934, 1936, and 1955, remained unpublished until recently so made for a welcome offering of fresh repertoire. The first two songs, Poème d’automne and Winter Moon, show the undeniable talent of an emerging composer, while the later ones, Young Love in Spring and Summer Storm, are the works of an experienced composer who is confident in her voice and assured in her craft. Bonds studied with Florence Price while in high school, was awarded a scholarship to Northwestern University (where she earned her bachelor’s and master’s degrees by age 21), and later studied with Roy Harris at Juilliard. Bonds was the first African-American to appear as a soloist with the Chicago Symphony Orchestra and was a prolific songwriter, with more than half of her songs set to the poems of Langston Hughes, a lifelong friend of hers.
About the performances, first, some general observations. Ms. Schutz’s voice projects well, without strain or stridency. Her diction is clear (so while the texts were available, there was no real need to have my head buried in them), and her stage manner is expressive without being overly “emotive.” These are all qualities that are appreciated by listeners who value substance over gimmicky style. She projected the easy blues feel of Poème d’automne quite stylishly and gave the evocative Summer Storm roiling turbulent growls. These were an auspicious start to the evening.
Excerpts from Vignettes: Ellis Island by Alan Louis Smith (b. 1955) followed. Mr. Smith stated that he selected excerpts from tape-recorded interviews of persons who passed through Ellis Island on their immigration to the United States. He chose quotes in which, as he describes, “the use of language, narrative description or emotional content” struck him as being “inherently musical in some way.” He then reordered the selected passages to progress from preparing to leave for America through settling in the United States. The Vignettes ranged from excited anticipation, to nostalgic lament, to portraying the bustle of Ellis Island, with even a little Titanic anecdote thrown in (which made for a good story, though pure fantasy!). Ms. Schutz captured the various moods with a practiced ease, seamlessly moving from story to story. When there was whimsy, she projected it without being hammy, and the laments were never overwrought or maudlin. Sincerity is the word that I believe best describes Ms. Schutz’s approach, and it was the perfect match for these vignettes. Favorites were “Anna” (Prologue) with the jaunty feel that reminded one of Milhaud, the hymn-like “Kaj” (Boarding the Boat), and the clever “Max” (On the Island).
After a five-minute pause, Ms. Schutz offered Meditation, a two-movement piece, by Chen Yi (b. 1953). Set to poems from the 7th and 8th centuries (Know You How Many Petals Falling?, and Ascending the Watch Tower at Youzhou, which Yi called Monologue), they pair some of the traditional elements of Chinese opera with some rather “modern” harmonic touches. These pieces gave Ms. Schutz the opportunity to demonstrate the considerable technical gifts that she obviously possesses but was keeping on the backburner ready to unleash. While these were not ostentatious displays of vocal gymnastics, her virtuosity was indisputable and made quite an impression on this listener.
The world premiere of No Road Back Home, by Thomas Osborne (b. 1978) followed. Dedicated to the poem’s author Abduqadir Jalalidin, a Uyghur writer who has been imprisoned in Xinjian since 2018, the poem was memorized and transmitted from inmate to inmate, until it finally made it to the outside world. It eventually made its way to Mr. Jalalidin’s former student, historian Joshua L. Freeman, who translated the verse into English. To say this work is emotionally charged is something of an understatement, as one is drawn into the desolation of isolation and the crushing weight of despair. Ms. Schutz wrung every last drop of these qualities in a performance that was absolutely shattering in its heartbreak. As it died away to a final lament, one could sense the collective holding of breath throughout the hall. This was the most memorable moment of the evening for this listener.
Let’s take a moment to offer kudos to the excellent pianist Timothy Long, who was an outstanding collaborator and a force in his own right.
Rachmaninoff’s Six Songs, Op. 38 ended the program. There is no reason to write about the background here; the stories are well known and easily found online by anyone who wishes to know more. This was far from this listener’s “first rodeo” with these songs, so I was eager to see how Ms. Schutz would do. The short answer is: very well indeed! One does not win contests without having technical skill, so there was not much doubt about Ms. Schutz’s ability to cope with those challenges, but there was a level of artistry that took this from the “contest ready” to the truly exceptional. While the entire set was of high quality, it was the fourth song, The Pied Piper, unconventionally playful for Rachmaninoff, that was the highlight of the evening for me.
The audience rewarded Ms. Schutz with a well-deserved standing ovation. She offered another Rachmaninoff song, Spring Waters, the eleventh of the Twelve Romances, Op. 14, as an encore, which she sang with exuberance.
