“Frauenliebe und -leben” is the alternative. The lover is talked about always, all over the place, shaping virtually each utterance. The piece sees a lady by means of the milestones she creates with a person: falling in love, getting married, having a child, mourning his dying. Lindsey tinged the narrator’s first blush of affection with russet colours and a penetrating glint. A luscious line wove by means of “Du Ring an meinem Finger,” an nearly sacred intimacy by means of “Süsser Freund, du blickest.” However the gushiness of “Ich kann’s nicht fassen, nicht glauben” felt pressured.
The intimate Board of Officers Room could make some vocal devices sound huge and overwhelming, however in Lindsey’s case, it allowed the viewers an expensive communion along with her voice that isn’t attainable within the Met’s cavernous auditorium. Her timbre, darkish and occluded, is without delay compelling and withholding; in weak moments, she makes use of a threadlike straight tone.
Within the 10 Fauré songs, Lindsey was usually enchanting: the profound whispers of “Paradis,” the conversational heat of “Prima verba,” the attractive exaltations of “Comme Dieu rayonne.” The poetry’s countless discuss of sighs, solar, flowers and fruits, although, took on a sure sameness; in Lindsey’s interpretation, Eve is extra demigod than human. Justina Lee’s piano, at occasions plodding, made Eden really feel earthbound quite than beautiful, the hardiness that made her Schumann comfortingly stable rendered the Fauré stolid.
The live performance ended with a quick set of Stephen Sondheim songs that launched an imbalance to the night. However solely a tablet may argue towards listening to these fantastic items. Lindsey’s light, sincere vibrato was disarming in essentially the most poignant strains of “Dropping My Thoughts,” however she struggled a bit with becoming her operatic method to “Take Me to the World” and carried out an abbreviated, much less highly effective model of “Being Alive.”
The Schumann and Fauré cycles each finish with meditations on dying, which is the place Lindsey summoned her stagecraft. Within the lengthy postlude for piano that closes “Frauenliebe,” a motif from the primary music emerges as a tragic, mournful echo, a reminiscence of happier occasions. Lindsey’s protagonist, with no phrases left to sing and no man left to like, appeared to age a lifetime in a second. There was a way that now her life, and the individual she was to be, would start.
Kate Lindsey and Justina Lee
Carried out on Monday on the Park Avenue Armory, Manhattan.