A program that had death as its central theme nonetheless managed to be somewhat cheerful and certainly most lyrical about the subject, in the Nova Chamber Series concert on Tuesday.
Nova showcases Lani Poulson at least once a year, and a wonderful custom it is, for Poulson, whose career is international, is too seldom heard here in her home state.Her attractions - a rich, evenly produced mezzo soprano, with glowing, rock-solid high tones; intensely focused interpretation; and excellent audience rapport and communication - were at their height in the evening's concluding songs - Hindemith's "Des Todes Tod" (The Death of Death). With these songs, Poulson again showed her facility in bringing unfamiliar modern music to vibrant life.
This trilogy of songs, from the prolific Hindemith in his 20s, are lyrical and even rhapsodic representations of the composer who later became more hide-bound by his own rules. Their accompaniment for two violas and two cellos yields interesting colorations in the lower, richer sonorities.
The poems by Eduard Rein-acher are of that passionate purple cast popular at the turn of the century, invoking fast-flowing, vivid imagery of a somewhat macabre, mournful physical and spiritual landscape, as seen through the eyes of a sometimes overwrought protagonist. But music added beauty and substance to these poems, as Poulson found the unique spirit in each song.
"Gesicht von Tod und Elend" (The Face of Death and Misery), was the melodic opener with vibrant string commentary; "Gottes Tod" (The Death of God), pensive and reflective at first, was filled with jewel-like tones, rising to a high and thrilling climax; and in "Des Todes Tod" the singer and solo viola interacted quietly and luminously.
Turning to Schubert, with Ann Pascoe as the wonderfully empathetic accompanist, Poulson offered a fleet, cheerful celebration of "Silvia." followed by three charming unfamiliar lieder - the serene "Youth at the Spring," the boyishly expressive "In Spring," and the wistful "To the Nightingale." "Gretchen am Spinnrade," rising to a passionate climax, was followed by the contrasting voices of "Death and the Maiden.".
Schubert's Quartet No. 14 in D minor was the contribution of the Western Arts Quartet, comprised of Ralph Matson and Barbara Scowcroft, violins; Roberta Zalkind, viola; and Ellen Bridger, cello, in an flowing, flexible interpretation that seemed fed by springs of fresh vitality.
The centerpiece is of course the Andante, with its variations on the "Death and the Maiden" art song theme, and they were beautifully played - held up to the light like so many jewels, each allowed to develop its own nuances of emotion in leisurely procession.
The opening Allegro set the stage for drama with sharp attack and sustained dynamic tension, while the final movements swept to a quick and vigorous ending.
Opening the program was the Lament from Monteverdi's opera "Arianna," which in this instance found the famous theme parenthesizing an overly long and lugubrious complaint by the abandoned Ariadne. Well-sung and played though it was, Monteverdi should have let well enough alone.