Jennifer Grimaldi, soprano and Max Midoit, piano
Bechstein Piano Centre, New York City May 4, 2010
What a pleasure it was to hear two fine sopranos, accompanied by two sensitive pianists, skillfully performing the glorious songs of Richard Strauss in a well-lit intimate setting. This year, I have attended many vocal recitals in dimly-lit major concert halls where established artists sang numerous sets of obscure and forgettable songs by great composers. But tonight, we heard fourteen Strauss songs, and there wasn’t a weak one amongst them. And our pleasure hearing these songs was enhanced by the fact that there was enough light to comfortably read the written program, with its fine notes and the original German poems written along side their English translations.
To get to the performing space of the Bechstein Centre, one enters through the piano showroom. Walking among these storied instruments is a wonderful way of transitioning between the hurly-burly of midtown Manhattan and the anticipated vocal recital to follow. A left turn takes one to the performance space. Against the right wall are many upright pianos, in the front a raised stage with a large Bechstein Grand. It was sad that there were so few people in the audience to hear this fine recital.
The recital began with a performance by soprano Sharon Cheng, who sang four of the five Brentano Lieder, Opus 68. Ms. Cheng, whose vivid red dress appropriately reflected the vocal fireworks she produced, possesses an exciting and securely produced voice which grows more and more thrilling as she moves into the stratospheric parts of a soprano’s range.The high point of the set was her performance of the last song, Amor. Ms. Cheng nailed this show stopper’s very, very high notes with ease.
 Sharon Cheng, soprano |
 Jennifer Grimaldi, soprano |
 Michael Fennelly, pianist |
We then heard Jennifer Grimaldi, whose more somber black dress reflected her beautifully phrased and emotionally intense performance of three of Strauss’s most famous songs, Allerseelen, Morgen, and Cäcilie. Many singers seem to be afraid of singing the “hit tunes,” perhaps feeling that they will have “nothing new to say.” But performances such as Ms. Grimaldi’s, deeply felt and expressed through beautiful sounds, thrill us even though we have heard these songs so many times before. Michael Fennelly and Max Midoit were the sensitive and supportive accompanists. That they were sometimes a bit too loud was a function of the very lively performance space and the powerful Bechstein Grand upon which they were playing.
After intermission, Ms. Cheng performed the Brentano Lied she omitted on the first half. She concluded her set with wonderful performances of Ständchen and Kling, showing that she too was not afraid to sing the “hit tunes.” Many young singers often don’t program the “hit tunes” because they are afraid that their performances will be compared to those of established stars living or dead. But both Cheng and Grimaldi were up to the task. I urge all singers to forget about how someone else has performed a song. The great ones stand up to repeated performances. It’s the mediocre ones that one should be wary of. The recital ended with a most moving performance of the Vier letzte Lieder, sung by Jennifer Grimaldi.
