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Graham & Orpheus Introduce Diverse Rorem Cycle of "Songs for Susan" |
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by Bruce-Michael Gelbert | >> see bio |
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photo by Dario Acosta
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| Susan Graham |
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A featured work of the peerless and conductor-less Orpheus Chamber Orchestra's May 11 concert at Carnegie Hall was the world premiere of national treasure Ned Rorem's diverse "11 Songs for Susan," commissioned by Orpheus and sung with gusto by virtuoso mezzo-soprano Susan Graham.
The "11 Songs" consisted of three entirely new songs and eight older ones, newly orchestrated, and ranged from such familiar friends as Rorem's setting of Paul Goodman's "The Lordly Hudson" to fully fresh fare, like "Wild Nights," to an Emily Dickinson text.
"For Susan," an airy anthem, with words by Goodman, replete with floral imagery, hailing a varied personality, "Fitful, fearful, willful, gay, and tearful" and as versatile as Graham herself, began "11 Songs." "A Journey," to contemporary poet Andrew Glaze's verse, proved lightly nostalgic and redolent of the mischief, evoked by Rorem, Graham and Orpheus, of an adventurous child who, unbeknownst to parents, sneaks away for a solo ride on a streetcar.
Graham unleashed the full operatic opulence of her instrument in the premiere of "A Poison Tree," to William Blake's well-known poetry, concerning expressed anger at a friend versus ill-concealed anger at an enemy. Wrath, both full-blown and stealthy, suffused the song, its vocal line virtually a cappella, with the players mostly making venomous commentary between verses.
A peaceful "Clouds," spare as an Impressionist painting, and with words written by Goodman, was juxtaposed with the grimly beautiful "Death and the Young Man," a new setting of verse by living contemporary David Bergman, in which even the Grim Reaper seems intimidated about taking one so clearly in the prime of life. The poem appeared in the New Republic in 1989, at the height of the AIDS crisis.
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| Ned Rorem |
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After a restless "I Strolled Across an Open Field," with words penned by Theodore Roethke, came the aforementioned stately paean to our breathtaking local river, proudly delivered by the singer. The new orchestration boasts stark grandeur and the music ends with a victorious flourish.
"The Shadow, My Likeness," taken from Walt Whitman's "Leaves of Grass," found poet-and singer and composer-considering, comparing and contrasting elusive reflected and more defined physical and artistic identities. Graham relished the humor, in Rorem and Roethke's "The Serpent," of limning a "[H]orrible," "shriek[ing]" reptilian vocalist.
Controlled anarchy marked the new "Wild Nights." The "11 Songs" came to a triumphant conclusion with an "Alleluia," in which Graham's jubilant outpourings bracketed a middle section of her hushed reverence, after which the artists were awarded a much-merited standing ovation.
Franz Joseph Haydn's Symphony No. 26 in D minor preceded the Rorem premiere and Maurice Ravel's "Pavane pour une infante défunte" and Igor Stravinsky's "Danses concertantes" would follow.
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