The Carnegie Recital

Patricia Kent presented a recital with pianist Rederick Kettlewell at Weill Recital Hall at Carnegie Hall on February 2, 2002.  This concert was funded by a Faculty Development grant from the College of Saint Benedict / Saint John's University and was inspired by Ms. Kent's decades long interest in French art song.  The recital included works by Debussy, Poulenc, Duparc, and Roussel and will be featured in an upcoming CD recording entitled, 'La Vie Intérieure' - the interior life.

Here's what one New York reviewer had to say:

"Entering into the sumptuous jewel box that is Weill Hall, one is cued to leave mundane considerations behind and prepare for an experience of heightened and distilled sensitivities, the world of music.  Those who frequent this realm in either professional or audience capacity have the opportunity to escape the streets and dwell in dreams.  One hopes to get something equal to the effort invested, as either performer or listener. There are concerts when the stars align such that one leaves this dimension entirely and for a blissful span resides in some world that is more beautiful, more profound, than anything imaginable.  Each person will perceive it in his own way but will be transported in an oceanic wave to points of infinite depth and limitless freedom.

Patricia Kent is a soprano who defined such domain in her recital with pianist Roderick Kettlewell.  In a program entitled "La Vie Intererieure," Ms. Kent led us in both strong and loving example through the gates that most often remain closed to our vision of music's ultimate purpose: the singing of the human soul.  Through disciplined craft and the plum nectar of her voice, Ms. Kent's full power of personality and ability to communicate so incisively and broadly, and truly, was of nearly mythic proportion.  As a priestess serves as conduit between mortals and worlds unseen, so did Ms. Kent draw all end points into connection.

I should like to end my review here toward the purpose of underlining the importance and magnitude of the experience.  With that sentiment in mind, I offer some details in the spirit of conscientious journalism.  If you were fortunate enough to have been there, this won't matter; if you missed it, perhaps this information will be of interest.

Beginning with Debussy's Ariettes oubliees, Kent caused one to forget the stunning craft of the composer's discipline for the effects he intended. The entire program was of French song and there was ample time to hear how the language affects this performer and how she deals with its peculiarities when sung.  Throughout, I could detect a theory of sorts being brought to bear on pronouncing vowels and consonants in questionable cases.  That Kent opted for an Italian "e" and "r" needs no lengthy discussion here.  French presents some problems of diction in singing which does not exist when spoken.  Kent opted for one approach; other singers might tend toward another.  Alternatives to Kent's decision most often result in the nasality that most singers and listeners find offensive (when they aren't French).  Kent avoided such offense and in so doing was left with a touch of "down home" delivery at times that is perhaps foreign to these composers' (and poets') haut manner.  After all, this music is decidedly cuisine classique, not of provencal origin or intent.

Mr. Kettlewell's contribution was of stunningly beautiful substance, his playing a continuum of every nuance, and replete with the variegated textures and colors that swim and sparkle in this repertoire.  He and Kent have enjoyed collaborative work for many years;  their keen and easy compatibility was never in question.

Following the five opening songs, Kettlewell delivered a glittering performance of Ravel's Sonatine for piano solo.  I've rarely heard the Steinway at Weill sound so good as he was able to coax it.  The true spirit of the Mouvement de Menuet, usually mismanaged by emotional fussiness that impinges upon its classic gait, walked elegantly in his care.  Some may have wished for more sweep to the final Anime, but I'm notcomplaining; I only rue that the final chord did not skew the major and minor modalities
as Ravel surely intended.  It's a bizarre effect, rather skunky, and one gets no second chance.

Poulenc's seven songs of La courte paille ended the first half of the recital.  A very satisfying set, both performers did it full justice.  Kettlewell could be seen lip-synching along with Le sommeil; apparently he knows more than just the piano part!  Three of the songs can only be described as cute; the poetry is cute, the music is cute, and Kent sang them cute.  Maybe I'm a party-pooper, but I'm no snob.  I felt that Poulenc had failed Ms. Kent.  Such cutesiness seemed a step or ten down from more substantive matters that find such glorious expression in this singer's artistry.

Poulenc's Trois poemes de Louise de Vilmorin opened the second half of the concert, followed by the rare treat of Roussel's Trois melodies.  Cinq melodies of Duparc ended the program, all masterpieces but crowned surely by his "La vie anterieure," sung straight from Kent's heart to our lucky, lucky souls.  I cried with her singing of Chanson triste, grateful for the humanity that Ms. Kent revealed in my self.  This was the greatest gift of all.  Thank you, dear Patricia Kent!

Ms. Kent provided a beautiful program booklet with excellent notes and translations.  An accomplished performer, as is Kettlewell, she hails from the Minneapolis/St. Paul area where she is frequently heard in recital and oratorio and opera.  Keep an eye out for her CD recordings, past and future, and pray that she'll be back here again soon.  This evening ended with one encore, the lovely Mandoline of Faure."

-Darrell Rosenbluth

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