Carnegie Neighborhood Concert Redux

Alison King, soprano; Carrie-Ann Matheson, piano

The program: Here amid the shady woods, from Balus; O sleep, why dost thou leave me, from Semele; Tornami a vagheggiar, from Alcina – George Frideric Handel, (1685–1759); Der Hirt auf dem Felsen, Franz Schubert (1797–1828); Shéhérazade, Asie, La flute enchantée, L’indifferént, Maurice Ravel (1878–1937); Selections from Chants d’Auvergne, Joseph Canteloube (1879–1957).

So far, we have a pretty straightforward song recital. And it begins that way, as well. The first two Handel arias are from what I consider to be early opera—light, clear vocal lines and light, clear accompaniment. Accompaniment, yes—vocal lines, a little less so.

I am not here to write a review, but my take on the vocal performance is my take. Ms. King’s approach, to these ears, seemed a little too harsh (I tried thinking of different words but this is what I came up with). The pitch seemed to suffer a bit, maybe from overforcing.

Her technique in the third Handel piece was self-evident and fine (if a little too prominent).

The Schubert was a lovely piece, with the addition of clarinetist Jessica Phillips. Throughout, Ms. Matheson was a supportive, and equal, partner.

After the intermission we had the Ravel, and Ms. King seemed a bit more relaxed—as did her voice.

Interestingly (history lesson here), Ms. King’s English translations of Chants d’Auvergne, by Sheldon Harnick, were a world premiere. Marilyn Horne, who was at the concert and spoke to the us at the intermission, informed us that Mr. Harnick had presented these lyrics to
Ms. Horne some years ago (and I’m being generous) but she never got around to using them. Ms. King did—and they are quite lovely. On top of that, they were written for Julie Andrews, who also never got around to using them!

On top of that, I saw Sheldon Harnick at my last Carnegie Neighborhood Concert. Is this a great city or what?!?

ConcertMeister