as Sunlight Beamed through the Wealthy stained glass of Christ Church, Claremont, Therefore Pia Harris illuminated Intimate Songs from centuries Ago to Get Swan Tunes’ Spring Festival opener, Tunes for Lovers.
A distanced Sunday matinee audience heard Harris’ glowing soprano teamed with David Wickham’s eloquent piano for collections of Richard Strauss, Claude Debussy along with also a trio of all English composers.
And love is now a many-splendored item, Harris researched a vast selection of emotion and expression before resolving last on spiritual adoration therefore fitting the place at Strauss’s Brentano-inspired Women’s Song,” offering thanks to saving grace.
“Gelobt sei der Name des Herrn” — Praised be the name of their Lord, she intoned, a deep and moving decision.
It was uncommon to hear all the Six Songs to Poems by Clemens Brentano, beginning with To Night, its own intricate mythology and vision concentrated through feminine voice; resonant and imperial yet elegant via the register.
I’d Have Created a Bouquet was folkloric and demure while its sequel, Rustle,” Dear Myrtle, provided sweeping gesture and tone.
Along With Your Song Rang Out to Me had been melodic and adventuresome in ambience, until Cupid’d Harris ringing outside, then falling to a whisper, adjusting the audience using a glimpse:”Save yourself against your wily kid”
Camera IconDavid Wickham and Pia Harris in Christ Church, Claremont, for Swan Songs.
The duo showed aim from the beginning at Benjamin Britten’s Let the Florid Music Praise, using a fanfare in vocal and piano attack of assurance and power, Harris hammering the fourth wall to roam the aisle of the church — a romantic touch.
Ivor Bertie Gurney’s Sleep was meditative before Henry Purcell’s Sweeter than Roses lurks fireworks in freezing eyes and emotive participation.
Harris had sworn a love serenade into the crowd and it arrived from Debussy’s setting of poetry by Paul Bourget along with Paul Verlaine, driven by Debussy’s obsession with his muse, Madame Vasnier.
Harris created a personal link to the narrative from the florid and striking Ariel’s Romance, an animated portrait of a tortured spirit; while Regret appeared raw, without any artifice.
It’s Ecstasy was operatic in dynamics and timbre,” Harris channelling Italian tradition in gesture along with florid tone.
Strauss’s Four Songs ). 27 rang-in the period the composer’s homage to his bride.
Rush my Spirit swung the disposition yearning, with gloomy eyes and sombre tone within shadowy chords.
Cecilia instantly switched to lively manner, bright and shining, until the wide subject (in every way ) of Secret Invitation was blunt, together with continuing shipping and crystal clear diction.
Morgen (Tomorrow) finished the halfan teutonic flashlight song by turns sonorous and hardly there, using a delicacy in piano to maintain the disposition embodied centre-stage.
Disposition shifted again after the period, with Debussy’s Four Early Songs: angular and rhythmic for Pantomime — an delivery echoing commedia dell’arte; balladic and catastrophic for Clair de Lune; angular again for Pierrot; and also mystical at Apparition — a bit of languor from the reverie, towering lines .
Harris, who loathed Gretel at Opera at the Park’s Hansel and Gretel, is that the earliest of four rising stars in Swan Tunes’ Spring Festival of Song in Christ Church.
Soprano Lucy Mervik takes the point following Sunday, September 20, mining the Enlightenment heritage of Duchess Anna Amalia and her group of genius.
Fellow soprano Katja Webb follows September 27 together with Ghosts, Fool and Seers, including WA composers James Penberthy and Geoffrey Allen, amongst others.
Eventually, Matthew Dixon will employ his baritone into Schubert’s Die Schoene Muellerin tune cycle on October 11.
These shows are in 3pm. Details in [email protected]