Plymouth
Church
October
5
An engaging exploration of women in distress. |
Erudition
and aesthetics rarely come together as sweetly as they did in “Woman
Scorned,” the opening program of Les Délices’
fifth season. With visiting mezzo-soprano Angela Young Smucker
providing the vocals, Debra Nagy and her French Baroque ensemble
served up a confection with body, a quintet of lush musical excerpts
whose beauty belied their troubling themes.
The
women in question were mostly tragic characters from Greek and Roman
mythology – Juno, Phaedra, Circé
and Medea, along with Armide, the beautiful witch of Tasso’s La
Gerusalemme liberata who became
the subject of operas by Lully and Gluck. In
a long set of well-informed program notes, Nagy made the case for
them as strong, loyal women driven to extremes by betrayal and
rejection. The double thread of power and vulnerability that she
developed in prose was carried through with intelligence and
sensitivity in music recounting their anguish.
Jean-Féry
Rebel’s sonata La
Junon
provided a tasty opener. Written originally for a trio, it developed
nicely with Michael Sponseller setting a tempo on harpsichord and
Nagy, on oboe, striking engaging sonorities with violinist Julie
Andrijeski and viola da gamba player Emily Walhout.
Feeling the pain. |
Smucker
joined the group for the Ohio premiere of Thomas Louis Bourgeois’
cantata Phédre
et Hipolytte,
which recounts the tragic death of Hippolytus and his stepmother’s
remorse. Smucker has a full, richly emotional voice that almost
overwhelmed the quintet at times. But it fit the subject matter
perfectly and was instantly dominant, filled with longing and regret.
The strings provided animated accompaniment, colorfully describing
Hippolytus’ demise and then underpinning Phaedra’s guilt and
pain.
A
cathartic break was in order, and Sponseller provided it with a solo
interpretation of a well-known passacaille from Lully’s Armide,
arranged for harpsichord by Jean-Henry d’Anglebert. A bit uptempo
and choppy at times, it was more expressive in Sponseller’s hands
than precise, though engaging in its melodic flow, which sounded
almost modern.
Smucker
returned to the stage for Medea’s riveting “Quel prix de mon
amour” from Charpentier’s Medée,
rendered with exquisite craftsmanship by the ensemble. The vocals
were drenched in emotion, as Smucker imbued every syllable of her
impassioned 19 lines with just the right balance of sadness and
vengeance.
The
final piece was another Ohio premiere, Colin de Blamont’s cantata
Circé.
It’s a bit of a departure for an early 18th-century work, featuring
dissonant colors and colorful chromatics in a staggered opening, and
soaring vocals. Smucker was piercing without being harsh in the
higher registers, and tender in the contemplative passages. After
invoking the power and despair of Circé’s wrath, she found
notes of joy in the final resignation of love won and lost. Skillful,
detailed work by violinist Andrijeski added to the impact of the
piece, which had the power of a full-blown operatic excerpt.
The
program left this critic wanting more, and marveling at how much Nagy
and her players are able to squeeze out of seemingly simple, often
obscure works. In theory, such rarefied fare should appeal to only a
small group of listeners. But in Les Délices’
hands, the combination of serious scholarship, fine playing and
enthusiasm for the material has provided entree to a rich repertoire
for a solid and growing audience. Magnifique,
n’est-ce pas?
For
more on Les Délices:
http://lesdelices.org/Index.html
For
more about Angela Young Smucker:
http://www.mezzoangela.com
Photos: Ensemble courtesy of Debra Nagy/Smucker by Wendy Benner Photography
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