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• W4224297932 abstract "The Listener’s Gallery Gregory Berg (bio) Were I With Thee. Michelle Areyzaga, soprano; Dana Brown, piano. (4 Tay CD066; 73:44) Edouard Lippé: “How do I love thee.” Wayland Rogers: “To My Dear and Loving Husband” (I-Thou). Tres Poemas de Gabriela Mistral: “El Aire,” “El Angel Guardian,” “Apegado a mi.” Leonard Bernstein: “A Julia de Burgos” (Songfest). John Duke: “What Lips My Lips Have Kissed.” Richard Pearson Thomas: “Wild Nights—Wild Nights!” “I Never Saw a Moor,” “At Last, To Be Identified” (At Last, To Be Identified). Gwyneth Walker: “La Luz.” Emily! (from New England): “My Letter to the World,” “The Moon and the Sea,” “The Frog in the Bog,” “Hope (with Feathers),” “Passion,” “Joy,” “All I Have to Bring.” Patrice Michaels: “Anita’s Story,” “Epilogue—The long View, Questions Answered” (The Long View: A Portrait of Ruth Bader Ginsburg in Nine Songs). Lee Hoiby: “The Waltz” (Three Women). The Shining Place: “The Shining Place,” “A Letter,” “How the Waters Closed,” “Wild Nights,” “There Came a Wind Like a Bugle.” Soprano Michelle Areyzaga is one of those treasured singers who creates gold out of everything she touches, conceiving compelling projects and executing them with exceptional skill. Her latest release, Were I With Thee, may be her finest achievement yet. It presents a selection of outstanding art songs with texts by woman writers. This simple concept has not been done as often as one might assume, and rarely, if ever, has it been carried out with such a high level of excellence. The title of the recording is drawn from Emily Dickinson’s remarkable poem “Wild Nights—Wild Nights!,” and three different settings of it, by Richard Pearson Thomas, Lee Hoiby, and Gwyneth Walker, serve as the disk’s artistic nexus. Moreover, an illustration of Emily Dickinson by one of her living descendants, Kandice Dickinson, adorns the cover of the disk. It is that kind of attention to detail that elevates this recording from very good to truly great. Twelve of these twenty-six songs are recorded here for the very first time, which only underscores the significance of this release. The writers and poets are a widely varied lot, with excellence being the one and only constant. Musically, the disk mostly focuses on neo-romantic repertoire, for which both the singer and pianist have a clear affinity. That affinity is abundantly clear in their impassioned performance of Edouard Lippé’s “How Do I Love Thee?” that opens the disk. One cannot imagine Elizabeth Barrett Browning’s famous text being given a more rhapsodic setting or being performed with more openhearted generosity. By the way, Lippé is best known as the primary voice teacher for both Nelson Eddy and Todd Duncan, but this song is a vivid indication of his considerable skill as a composer. From the pen of John Duke comes an expertly crafted setting of “What Lips My Lips Have Kissed” by Edna St. Vincent Millay, a potently expressive song that is given its world premiere recording here. Bernstein’s contribution to this collection is an excerpt from his wide ranging Songfest. It’s a setting of a fascinating poem by the gifted Puerto Rican writer and activist Julia de Burgos in which she strives to elucidate her role as a poet. Bernstein’s musical restlessness is a perfect mirror of the text’s unsettled nature. There is some of that same musical flavor in two excerpts from Patrice Michaels’s remarkable work From the Long View: A Portrait of Ruth Bader Ginsburg in Nine Songs. The remainder of the disk is given over to generous samplings of the songs of Gwyneth Walker, Lee Hoiby, Wayland Rogers, and Richard Pearson Thomas. Walker’s chief contribution to this recording is her stunning song cycle Emily!, which features marvelously crafted settings of seven poems by Emily Dickinson. There is a vivid, pictorial quality to Walker’s songs, as well as a sense that her songs spring directly from the beautiful natural world around her. This is the work’s world premiere recording. Walker also contributes to the proceedings a playful setting of “La Luz” by the Chilean poet and humanitarian Gabriela Mistral, the first Latin American writer to win..." @default.
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• W4224297932 date "2022-04-21" @default.
• W4224297932 modified "2023-09-24" @default.
• W4224297932 title "The Listener’s Gallery" @default.
• W4224297932 doi "https://doi.org/10.53830/xtgt1735" @default.
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