What an auspicious New York debut vocal recital, as two wonderful performers, mezzo soprano Misoon Ghim and pianist Amy Yang, presented songs from five stylistic periods, sung beautifully in five languages. I was most impressed by the high quality of the music they chose, and how these works allowed both performers to exhibit the many aspects of their fine technique and deep musicality.
And what better way to open a program than with the words “Music for a while/ Shall all your cares beguile,” the opening lines of Henry Purcell’s setting of John Dryden’s poem “Music for a while.” I was pleased that the performers chose an edition with a stylistically correct keyboard part, rather than one with the souped-up accompaniments so often used by singers who aren’t Baroque specialists. Ms. Ghim possesses a beautiful bright voice which is produced with great ease. (Darker vocal colors were to appear later in the concert.) Another Purcell work, “Dido’s Lament,” followed. Most moving was her heartfelt singing of the words “remember me” which showcased her thrilling upper register. I did wonder why Ms. Ghim chose to ornament repeated lines during “Dido’s Lament,” while failing to decorate the da capo of “Music for a while.”
Next we heard four songs by Brahms. During these works Ms. Ghim produced many vocal colors to express the meaning of the words. Most memorable was her performance of “Die Mainacht” where we first heard her moving dark sound. Pianist Amy Yang, very much an accompanist during the Purcell, was given her first chance to shine during these songs. Her rapid finger work imitating the sound of spinning wheels during “Mädchenlied” and her stormy accompaniment during “Mein Liebe ist grun” gave us a foretaste of many pleasures to come.
The first half ended with a superb performance of Mozart’s Concert Aria “Ch’io mi scordi di te?” As the accompaniment of this work was originally scored for orchestra with obbligato piano, one could think of this piece as a concerto for voice and piano. It was therefore exciting to hear both of these fine musicians vie for our attention. That Ms. Ghim has been a success on the opera stage was vividly shown by her expert performance of the expressive opening recitative, the lyrical first section of the aria and then its thrilling dramatic conclusion. This was wonderful singing. Equally wonderful as both accompanist and second soloist was pianist Amy Yang.
That the recital’s second half would maintain the high quality of the first half was made clear during the opening moments of the first of Mahler’s “Fünf Rückertlieder,” “Ich atmet’ einen linden Duft!” as Ms. Ghim spun out a most ravishing phrase. And at the climax of the intimate “Liebst du um Schönheit” she was very much the singing actress, as she lovingly caressed the words “o ja, mich liebe” (“oh yes, love me.”) “Blicke mir nicht in die Lieder” allowed Ms. Ghim to show off her dark lower register and Ms. Yang to offer a sensitive accompaniment featuring a beautifully played left hand. Both performers shone during the very slow and quiet “Ich bin der Welt abhanden gekommen.” But what sticks in my mind was Ms. Yang’s beautiful tone color and subtle phrasing, especially during the piano’s introduction, interludes and postlude. The last verse of “Um Mitternacht” brought the set to a goose-bump-producing- climax. For this listener, these Mahler songs were the highest point of a concert with many high points.
After a fine performance of Debussy’s “Fêtes galantes 1”, the program ended with “Cinco Cancione Negras” (“Five Black Songs”) by the Catalan composer Xavier Montsalvatge (1912-2002.) Employing Spanish and West Indian rhythms and themes, these songs lightened the mood and showed us another side of Ms. Ghim’s artistry. She and Ms. Yang brought the concert to a jolly conclusion with a wild rendition of the last song, “Canto negro.”
Thanks to the Korean Music Foundation for bringing these wonderful artists before a very appreciative New York audience.
