|
From The Columbus Dispatch,
September 19, 1999.
Holleque presents first major solo
By Barbara Zuck Dispatch Senior Critic It was a night of firsts for two Columbus institutions. The Columbus Chamber Music Society presented Columbus soprano Elizabeth Holleque in her first major solo recital last night. The event inaugurated the society's 1999-2000 programming and marked its first season-opening concert Downtown in the Southern Theatre. Holleque's talents are familiar to local audiences primarily through her appearances with Opera/Columbus. In collaborations with her husband, conductor Alessandro Siciliani, and the Columbus Symphony Orchestra she has portrayed both Mimi and Tosca in Opera/Colurnbus productions. To the rest of the world Holleque is known for her many roles at leading opera houses, notably the New York City and Metropolitan Operas. She teams up with frequent partner Luciano Pavarotti next month for several Toscas at the Met. All that said, what was interesting about last night's recital, in which Holleque was accompanied with consistent skill and sensitivity by pianist Thomas Muraco, was that it was not the operatic selections that stood out on her far-flung program. Quite simply, it was the songs. Holleque began with a so-so rendition of Mozart's concert aria, Vado, ma dove?. She then prefaced the following group by noting that it was her "maiden voyage" with Richard Strauss. Virgin trip or not through the composer's lieder, the Strauss songs comprised the artistic summit of the first half, if not the evening. The beautifully arched phrases in Zueignung, the pensive character of Allerseelen, the poetic understatement of Morgen and the vocal and emotional freedom of Schlechtes Wetter were a revelation for those of us who know this singer principally from the stage. Eight cellists led ably by Luis Biava then joined the soprano for Villa-Lobos' Bachianas Brasileiras No. 5. Though hearing the lesserknown Danza was pleasant enough, I would guess that most found the famous Aria more rewarding. Two substantial operatic scenes made up the bulk of the second half. Holleque emoted vivaciously throughout Tatyana's Letter Scene from Eugene Onegin. But she created magic in the famous Willow Song and Ave Maria from Otello. Yet even as fine as had been the Verdi, the closing six American songs surmounted it in almost every way. Clearly Holleque has an affinty for American music, as well as Strauss. A lieder artist is born? |