These hectic days, a recital of art songs for voice/piano is a rare treasure. And rarer still is a program so lovingly and skillfully constructed and so vibrantly performed as that by Robert Breault and Leslie Howard.
Let me count the ways this program succeeded. The excellent selection included three large segments, all settings of love poems by respected composers of great lyric gifts, yet of such individual style as to assure welcome diversity within this unifying theme of unabashed romanticism.Breault needs little introduction to vocal cognoscenti of Salt Lake City, who have watched his development during the past year with a sense of destiny unfolding. His voice is of beautiful lyric quality, natural and unforced, with floating pianissimos, if still a little light for the highest, loudest tones.
He uncompromisingly demands from himself artistic phrasing and dynamic control, as he immerses himself in each nuance, each phrase. His diction is clear, his German and Italian excellent. His platform personality is pleasing and sincere, without affectation or mannerism, and his youthful enthusiasm added credibility to these romance-saturated songs.
Though primarily a soloist, Howard is equal to Breault in musicality and enthusiasm for art song, and he proved the ideal collaborator and equal partner, adding dimension to every song.
What woman hasn't at least toyed with the notion of being the Laura of Petrarch's immortal sonnets, object of such a timeless, ideal love? Next best is to hear Breault and Howard perform Franz Liszt's "Three Sonnets of Petrarch," each building on a haunting theme, pulsating with suppressed passion or bursting free in soaring lyric flight.
Liszt caught the torment of love, the willing bondage, its sweetness, grief and joy, in melodic flight, and Breault gave them living sound in an exhilarating, youthful performance, abetted by Howard's unlimited traversal of the evanescent accompaniments.
Moving into the 20th century, still steeped in romance, were "`Seven Sonnets of Michelangelo" (yes, that Michelangelo) set by Benjamin Britten in 1940 - remarkable songs in which the versatile composer often suggested Renaissance ambience.
Breault found the quality and character of the songs, which incorporated a variety of compositional devices, with resultant interpretive demands. His traversal was flexible, his tone pliant, often moving in near-bel canto style. He sang softly without losing intensity, found the right nocturnal, darkling color, suggested almost metaphysical meanings upon occasion, spun out fine legatos, or sped along with panache through the quick passages.
In another collaboration spanning three centuries, Roger Quilter teamed compatibly with Cavalier poet Robert Herrick in songs "To Julia - 1905." The civil, urbane Quilter was in more reflective mood than usual for most of these songs of old English style, fastidiously enunciated.
There was "To Daisies," a quiet, heartfelt lyric, repeated in encore to underscore its depths; the fey and whimsical "Night Piece," moonlit "Julia's Hair" and finally an ebullient traversal of a melodically and rhythmically freeform setting of "Cherry-ripe."
The artists opened with a relaxed, easeful traversal of Beethoven's "Adelaide," almost a tone painting of the evocative scenes where the beloved came to mind.