The Orient expressed

Press, 9 April 1981, Page 6

The Orient expressed

By

HEATH LEES

A glance at the programme for last evening’s concert by The Songmakers’ Almanac revealed the possibility of an evening full of Eastern promise. It was divided into five parts, all of which had- some connection with Western man’s gradual awareness of the mystical Orient as a source of inspiration and exotic indulgence. Among the benefits of such a “concept-concert” are a roundedness of experience throughout the evening, a quasi-theatrical framework, and an opportunity to hear songs not normally included in recital programmes. It was more of a recital evening, since for the most part the singers were heard in a solo capacity with piano accompaniment. . . The pieces ranged from effulgent Victorian rhapsodies through largely unfamiliar songs by the great heder (composers of the nineteenth

century to lesser-known French and English composers. Even Noel Coward had a look-in at the end with “Mad Dogs and Englishmen,” complete with such classic rhymes as “and reprimand each inmate — who’s in late.” Similarly, the so-called Epilogue, an American patter song to the music of Mozart, was marvellously gruesome and provided light relief to a proKme which sometimes ne too rich in its lingering over extravagant imagery and exotic effect, j The venue of the Cathedral of the Blessed Sacrement seemed to inhibit the theatrical element, and the ->ften sensuous elements in the poetry were a little uncomfortable. In a less spiritual vein, it was clear that the piano was of only mediocre quality, through Graham Johnson still managed to be supportive and expressive in his fine accomnaniments.

Why nobody thought to turn off the amplifier was a mystery—the constant hum was a great irritation. The singers themselves settled gradually into the accoustcs of the building as they relaxed into the “floating” quality of the building here the thinner, more coloristic French songs were particularly successful —- but the few occasions of ensemble produced an overwhelming, sumptuous blend of tone. .. For me, the outstanding contributions were by Linda Finnie, whose offerings included a deliciously warm and musical “Suleika,” by Schubert, and I particularly liked Alexander Oliver’s flexible, natural cadence of Cornelius’ “Three Kings’ against the “Morningstar chorale, simply outlined on the piano. . , This was a concert by soloists of real quality, and a' highly imaginative venture in the' business ‘of pro-gramme-building.