The Program or A Life’s Journey

Context is a powerful thing. In opera or even oratorio, the context is clear – one is part of a storyline, character is fairly well defined. In art song, context can be ambiguous. That is what makes it so challenging and, yet, potentially so impactful. The possibilities are seemingly endless, and, as a result, the individuality of a performer's personal emotional stamp on a song can be all the more extraordinary. Also, sometimes pieces in a recital have been removed from their original context, imbuing them with new poignancy not imagined before. Not long ago, I went to a good friend's cabaret show in Midtown Manhattan and heard every single song on his program in a new context – each song had seemed to have new meaning and brought me new perspective as an audience member. It seemed that, in a way, I was hearing each song again for the first time. That night, I felt like our worlds and our goals were not all that different.

Here is the recital tour program:

THE PARADISE OF INNOCENCE – GEORGE F. HANDEL

Enjoy the sweet Elysian Grove from Alceste

Where'er you walk from Semele

LOVE'S YOUTH – GABRIEL FAURÉ

Le plus doux chemin

Chanson d'amour

Lydia

Nell

THE HEART BREAKS – ROBERT SCHUMANN

Liederkreis, Op. 24

Morgens steh' ich auf und frage

Es treibt mich hin

Ich wandelte unter den Bäumen

Lieb' Liebchen

Schöne Wiege

Warte, warte wilder Schiffman

Berg und Burgen schau'n herunter

Anfangs wollt' ich fast verzagen

Mit Myrten und Rosen

– INTERMISSION –

THE BITE OF EXPERIENCE – BENJAMIN BRITTEN

Winter Words, Op. 52

At Day-close in November

Midnight on the Great Western (or the Journeying Boy)

Wagtail and Baby (a Satire)

The little old Table

The Choirmaster's Burial (or The Tenor Man's Story)

Proud Songsters (Thrushes, Finches, and Nightingales)

At the Railway Station, Upway (or the Convict and Boy with the Violin)

Before Life and After

THE FINAL SIGH – HENRY PURCELL

How Blest are Shepherds from King Arthur

Olinda in the Shades Unseen

Evening Hymn