One of the vital thrilling components of the Bendigo Chamber Music Competition is the showcasing of an impressive singer. Final yr famend soprano Jacqueline Porter thrilled audiences with, amongst different performances, an outstanding Lieder recital; this yr, one other younger soprano, Chloe Lankshear, gave a scintillating efficiency of Vivaldi’s cantata In Furore Iustissimae Irae for the Opening Gala and adopted it up with a thoughtfully curated recital two days later.
In her introductory remarks, Lankshear thanked the viewers for being “very courageous” in coming to an 11am recital. Wanting on the scheduled objects, many would have thought it was even braver for a singer to undertake such an formidable program at that hour, particularly one which started with Strauss’s Amor – a taxing enterprise at one of the best of instances. Happily, she has adequate vocal agility and vary to deliver it off efficiently for essentially the most half. Lankshear’s alternative was actually justified when it comes to coherent programming since her purpose was to take us on a journey, following a path that started with Cupid and the follies of affection, continued with the cares of affection and lovers who’ve gone mad (particularly, Ophelia), and ended with poignant accounts of loss. On paper, it tended to survey the gloomier points of affection, however it was a diverse and utterly fascinating journey.
Though the recital was marketed as being one hour’s period, there was solely just a little over half an hour of music. But it surely was sufficient. Porter’s recital had included a few solo piano objects by Daniel de Borah; Lankshear needed the viewers to grow to be immersed within the journey, refraining from applause in order that the momentum from piece to piece could possibly be extra absolutely skilled.
Along with vocal virtuosity and fantastic thing about tone Lankshear’s dramatic talents had been on show from the outset. Her story of “Amor” was understanding and vivacious, as she negotiated the coloratura calls for of Strauss’s rating. A change of tempo got here in “The cares of lovers” from Purcell’s Timon of Athens, with Lankshear’s heat tone caressingly melancholic even whereas incorporating the florid melismatic passages with ease. Then it was again to a spirited “Aux Langueurs D’Apollon” from Rameau’s Platée – playfully interacting with each accompanist and viewers and cheeky as she tossed off the florid intricacies whereas Farid’s fingers danced throughout the keyboard in crisp accord.
Other than the penultimate merchandise, Ravel’s “Kaddish” – sung by Langshear with sincerity and composure – the remaining works got here from early music cycles by Messiaen, Strauss and the American composer George Crumb. They had been introduced out of the same old sequence within the pursuits of narrative circulation, starting with “Le Sourire” from Messiaen’s “Trois Melodies” and ending with a really stunning efficiency of Crumb’s “Let it’s forgotten” from his “Three Early Songs”. One among Lankshear’s excellent strengths is her means to spin out a seamless legato line, generally on the expense of clearly articulated textual content; the ultimate lingering phrase of “In a protracted forgotten snow” was an ideal instance of her means to create a powerful sense of environment with tone and line. Her splendidly expressive singing of Messiaen’s “Pourquoi” was one other, and she or he had a delicate companion in Farid to help in its creation.
Picture courtesy of Bendigo Chamber Music Competition.
Heather Leviston reviewed Bendigo Chamber Music Competition’s Morning Recital Collection 2 – Chloe Lankshear and Amir Farid, streamed stay from the Capital Theatre by Australian Digital Live performance Corridor on February 4, 2022.