{"id":974,"date":"2023-12-14T21:00:21","date_gmt":"2023-12-14T21:00:21","guid":{"rendered":"https:\/\/ventil.rs\/blog\/entertainment\/review-in-a-pair-of-recitals-a-baritone-and-a-tenor-sing-their-life-stories\/"},"modified":"2023-12-14T21:00:21","modified_gmt":"2023-12-14T21:00:21","slug":"review-in-a-pair-of-recitals-a-baritone-and-a-tenor-sing-their-life-stories","status":"publish","type":"post","link":"https:\/\/ventil.rs\/blog\/entertainment\/review-in-a-pair-of-recitals-a-baritone-and-a-tenor-sing-their-life-stories\/","title":{"rendered":"Review | In a pair of recitals, a baritone and a tenor sing their life stories"},"content":{"rendered":"<p> <br \/>\n<\/p>\n<div>\n<div class=\"wpds-c-jUMcim wpds-c-jUMcim-iPJLV-css hide-for-print mb-sm\">\n<div class=\"PJLV PJLV-ieDMgMI-css flex items-center\" config=\"[object Object]\" data-qa=\"article-actions\">\n<div class=\"wpds-c-mfMEg\">\n<div class=\"wpds-c-kSOqLF wpds-c-hnjNCH wpds-c-kSOqLF-bywHgD-variant-primary wpds-c-kSOqLF-biynoz-density-compact wpds-c-kSOqLF-hZSyid-isOutline-true wpds-c-kSOqLF-ejCoEP-icon-left wpds-c-kSOqLF-futxca-cv wpds-c-hnjNCH-eNNUQD-cv wpds-c-hnjNCH-jGqLyO-cv\"><button aria-label=\"Comment\" class=\"wpds-c-gPbxFP\"><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewbox=\"0 0 16 16\" fill=\"var(--wpds-colors-primary)\" aria-hidden=\"true\" focusable=\"false\" role=\"img\" class=\"wpds-c-kKAfCG wpds-c-efqEZa flex items-center justify-center brad-lg pointer transition-400 ease-in-out transition-colors\" aria-label=\"Comment on this story\"><title>Comment on this story<\/title><path d=\"M14 14V2H2v9.47h8.18L12.43 13ZM3 10.52V3h10v9.23l-2.5-1.66Z\"\/><\/svg><\/button><span aria-hidden=\"true\" class=\"wpds-c-fBEbFG\">Comment<\/span><\/div>\n<\/div>\n<div class=\"wpds-c-mfMEg\">\n<div class=\"wpds-c-kSOqLF wpds-c-hnjNCH wpds-c-kSOqLF-bywHgD-variant-primary wpds-c-kSOqLF-biynoz-density-compact wpds-c-kSOqLF-hZSyid-isOutline-true wpds-c-kSOqLF-ejCoEP-icon-left wpds-c-kSOqLF-futxca-cv wpds-c-hnjNCH-eNNUQD-cv wpds-c-hnjNCH-jGqLyO-cv\">\n<div class=\"PJLV PJLV-iPJLV-css\"><button type=\"button\" aria-haspopup=\"dialog\" aria-expanded=\"false\" aria-controls=\"\" data-state=\"closed\" data-testid=\"subscribe-cta-popup\" aria-label=\"Save\" aria-pressed=\"false\" class=\"wpds-c-kSOqLF wpds-c-kSOqLF-SQjOY-variant-secondary wpds-c-kSOqLF-eHdizY-density-default wpds-c-kSOqLF-ejCoEP-icon-left wpds-c-kSOqLF-icMJmxV-css\"><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewbox=\"0 0 16 16\" fill=\"currentColor\" aria-hidden=\"true\" focusable=\"false\" role=\"img\" class=\"wpds-c-dJBvpf wpds-c-dJBvpf-idnLyH-css \" data-bookmark-status=\"notsaved\"><path d=\"M12 3v8.92l-3.38-2.7-.62-.5-.62.5L4 11.92V3h8m1-1H3v12l5-4 5 4V2Z\"\/><\/svg><span class=\"wpds-c-iSKIAI\">Add to your saved stories<\/span><\/button><\/div>\n<p><span aria-hidden=\"true\" class=\"wpds-c-fBEbFG\">Save<\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"teaser-content grid-center\">\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\">A pair of recitals this week by baritone Justin Austin (winner of this year\u2019s Marian Anderson Vocal Award) and tenor Jonah Hoskins offered not just stellar singing and keen song selection but also<b> <\/b>a reminder of the expressive capability of a well-wrought recital program.<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\">There was a lot of audible love in the room for Austin on Tuesday evening. It was an understandable reception, given the singer\u2019s history in town. With Washington National Opera, he performed in the 2021 world premiere of <a href=\"https:\/\/www.washingtonpost.com\/music\/2022\/05\/24\/damien-geter-african-american-requiem\/?itid=lk_inline_manual_4\" target=\"_blank\" rel=\"noopener\">Damien Geter<\/a> and Lila Palmer\u2019s \u201c<a href=\"https:\/\/www.kennedy-center.org\/digitalstage\/plus\/wno\/wno-aoi\/\" target=\"_blank\" rel=\"noopener\">American Apollo<\/a>\u201d as part of the American Opera Initiative. In February, he sang with mezzo-soprano Denyce Graves in the Washington Performing Arts premiere of Geter\u2019s \u201c<a href=\"https:\/\/www.washingtonpost.com\/music\/2023\/01\/26\/black-history-month-classical-music-2023\/?itid=lk_inline_manual_4\" target=\"_blank\" rel=\"noopener\">Cotton<\/a>.\u201d And this season he made his role debut as Mercutio in the WNO production of \u201c<a href=\"https:\/\/www.washingtonpost.com\/entertainment\/music\/2023\/11\/05\/romeo-juliet-washington-national-opera\/?itid=lk_inline_manual_4\" target=\"_blank\" rel=\"noopener\">Romeo and Juliet<\/a>.\u201d<\/p>\n<\/div>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\">But his recital at the Kennedy Center\u2019s Terrace Theater put Austin where he belongs, center stage, with accompanist Howard Watkins. As a map of Austin\u2019s musical journey, the recital moved through spirituals and standard repertoire into 20th-century and contemporary art song and opera. It also found Austin dominating the stage, leaning against the walls, lowering himself to the floor, standing at its edge, palms out and up. He is a natural performer \u2014 a star awaiting a galaxy to form around him.<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\">Austin opened and closed his recital on spiritual notes \u2014 beginning with Shawn Okpebholo\u2019s luminously spare arrangement of \u201cOh, Freedom\u201d and later an encore of Julia Perry\u2019s \u201cI\u2019m a Poor Li\u2019l Orphan in This World,\u201d a low-glowing spiritual with accompaniment by Watkins as soft as moonlight.<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\">But the program between these bookends proved Austin more than an exciting singer \u2014 with a burly, burnished tone capable of striking nuance and color. He\u2019s an equally intriguing thinker. Tuesday\u2019s performance had the casual self-portraiture of a cabaret, the variety and depth of a solid DJ set and the unabashed anti-fascist spirit of a punk show.<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\">A lively reading of Ravel\u2019s \u201cDon Quichotte \u00e0 Dulcin\u00e9e\u201d put early focus on Watkins\u2019s attentive accompaniment \u2014 a fine fit to Austin\u2019s elastic theatricality. This was put on full display for Klezmer singer and composer <a href=\"https:\/\/thecjn.ca\/perspectives\/opinions\/rosenberg-fighting-fascism-with-klezmer\/\" target=\"_blank\" rel=\"noopener\">Daniel Kahn<\/a>\u2019s \u201cEmbrace the Fascists.\u201d Based on a 1931 poem by Kurt Tucholsky, it\u2019s an acidic, sardonic primer for how not to handle Nazis: \u201cYou wouldn\u2019t want to start a fight, for fighting is what they do best. Embrace the fascists and you\u2019ll be blessed.\u201d<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p><span class=\"wpds-c-sFUaP wpds-c-sFUaP-jtHNGr-variant-interstitial wpds-c-sFUaP-iPJLV-css hide-for-print\"><a data-qa=\"interstitial-link\" data-testid=\"interstitial-link\" href=\"https:\/\/www.washingtonpost.com\/newsletters\/style-memo\/?method=SURL&amp;location=ART&amp;itid=lk_interstitial_manual_12\">Sharp. Witty. Thoughtful. Sign up for the Style Memo newsletter.<\/a><\/span><\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\">Once struck, this foreboding chord resonated the rest of the night: A fiery account of the \u201cBallad of the Easy Life\u201d from Weill and Brecht\u2019s \u201cThreepenny Opera\u201d delivered us into intermission, with the same show\u2019s \u201cCall From the Grave\/Death Message\u201d welcoming us back. Austin sank to the floor and found stunning softness and subtlety in its andante.<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\">His voice hovered like a vapor over Ricky Ian Gordon\u2019s setting of Langston Hughes\u2019s \u201cSong for a Dark Girl,\u201d and I loved the detail and drama he brought to Gordon\u2019s \u201cMarvin Gaye Songs\u201d \u2014 a two-part setting of text by poet Vievee Francis, strewn with stray bits of Gaye\u2019s music, lovingly indulged by Watkins.<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\">The two made something sublime of Robert Owens\u2019s \u201cMortal Storm,\u201d an aching five-song setting of Hughes. In fact, one could easily imagine Austin performing an entire night of Hughes settings, so naturally suited are the contours of his voice with the shadings of Hughes\u2019s poetry. Along with Perry\u2019s \u201cOrphan,\u201d Austin offered the powerful parting second encore of Damien Sneed\u2019s \u201c<a href=\"https:\/\/www.youtube.com\/watch?v=ynOvLOB3D8s\" target=\"_blank\" rel=\"noopener\">I Dream a World<\/a>,\u201d a setting of Hughes composed specifically <a href=\"https:\/\/songofamerica.net\/song\/i-dream-a-world-2\/\" target=\"_blank\" rel=\"noopener\">for the baritone<\/a> in 2021.<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\">It was a performance and a program that balanced ease and urgency, the political and the personal \u2014 using the recital hall as a stage and the stage as a platform.<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\">The next night at the Terrace Theater, tenor Johan Hoskins took an equally autobiographical turn with his Vocal Arts DC recital.<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\">Accompanied with deep sensitivity and masterful touch and timing by pianist William Woodard, Hoskins opened with a suite of calisthenic musical portraits by Jake Heggie. \u201cFriendly Persuasions\u201d is a short, four-song cycle concerned with French composer Francis Poulenc\u2019s coterie of friends and associates. It was a clever opening selection, allowing Hoskins to shape-shift and show the many sides of his jeweled tenor \u2014 more often put in service of the lighthearted lyricism of Rossini or Donizetti.<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\">\u201cYou probably thought you were going to come here to laugh,\u201d Hoskins said from the stage, \u201cbut not tonight!\u201d<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\">From there his program \u2014 informally titled \u201cDown the Rabbit Hole\u201d \u2014 offered what he termed \u201ca spiritual autobiography\u201d in musical images: The blooming of a flower in a dream and the longing for that dream in reality (Lee Hoiby\u2019s \u201cWhat If \u2026\u201d); the joy of love and the fragility of life (Schumann\u2019s \u201cDu bist wie eine Blume\u201d and \u201cMeine Rose\u201d); the anguish of loss (Heggie\u2019s \u201cOphelia\u2019s Song,\u201d with its devastating refrain: \u201cThe spring is arisen and I am a prisoner there\u201d).<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\">Hoiby\u2019s setting of Emily Dickinson\u2019s \u201cWild Nights\u201d (a reference to a party phase, perhaps?) delivered a sudden tonal shock and a showcase of the power of Hoskins\u2019s instrument, which occasionally graveled out when pushed demandingly low. A lighthearted suite of jaunty Satie pieces \u2014 \u201cLes Trois Melodies\u201d \u2014 furnished fresh pre-intermission smiles, in large part thanks to Woodard\u2019s keen timing and wit.<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\">We returned to confront a sequence of monsters: Those in our imagination (Hoiby\u2019s \u201cJabberwocky\u201d), those in the mirror (Schubert\u2019s \u201cDer Doppelg\u00e4nger\u201d) and those that steal our innocence (Schubert\u2019s \u201cDer Erlk\u00f6nig,\u201d to which Hoskins lent a raw-edge terror).<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\">But it was in the final stretch that Hoskins let his voice get comfortable and reveal itself. A duo of songs about solitude \u2014 Samuel Barber\u2019s \u201cDesire for Hermitage\u201d and Heggie\u2019s \u201cJoy Alone\u201d \u2014 prefaced a spectacular account of Benjamin Britten\u2019s \u201cCanticle I: My Beloved Is Mine.\u201d To italicize the love letter to tenor Peter Pears that Britten coded into this 17th-century text by Francis Quayle, Hoskins swirled extra sweetness into its closing lento. I would love to hear Hoskins sing more Britten \u2014 it was electric and alive, and seemed to coax a depth that was otherwise fleeting.<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\">He ended the program with Stephen Sondheim\u2019s \u201cBeing Alive\u201d from \u201cCompany\u201d \u2014 an uplifting finish that suffered awkward silences from the absence of voices reprimanding the anxious Robert. A pair of encores found Hoskins dipping into a sweet spot of his repertoire, a lovingly decorated \u201cAh! Mes Amis\u201d from Donizetti\u2019s \u201cLa Fille du R\u00e9giment.\u201d This was followed by Jack Gold and Marty Paich\u2019s deeply neurotic arrangement of \u201cJingle Bells?\u201d \u2014 appropriately fitted with a question mark for Barbra Streisand\u2019s 1967 \u201cA Christmas Album.\u201d<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\">Like every other song on the program, Hoskins made clear that this one was personal.<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\">\u201cYou might be tempted to sing along,\u201d he said as a preface with a cheeky smile. \u201cPlease don\u2019t. This is my recital, not yours!\u201d<\/p>\n<\/div>\n<div class=\"wpds-c-jkoBlc wpds-c-jkoBlc-leHWbT-removeAllStyles-true\">\n<div class=\"wpds-c-gMxubY\">\n<div class=\"wpds-c-jKpMgH hide-for-print\" data-testid=\"collections-main\">\n<div class=\"wpds-c-eZQlgr\">\n<div class=\"PJLV\"><label class=\"wpds-c-bMdHQm wpds-c-bMdHQm-jPiQqD-size-md wpds-c-bMdHQm-iKthye-css\"><\/p>\n<p>More Style stories on music<\/p>\n<p><\/label><\/div>\n<\/div>\n<p><button class=\"wpds-c-kSOqLF wpds-c-kSOqLF-SQjOY-variant-secondary wpds-c-kSOqLF-eHdizY-density-default wpds-c-kSOqLF-hGNJMA-icon-center wpds-c-kSOqLF-qcJLL-cv wpds-c-kSOqLF-ieqAhsM-css\">View 3 more stories<svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewbox=\"0 0 16 16\" fill=\"currentColor\" aria-hidden=\"true\" focusable=\"false\" role=\"img\" class=\"wpds-c-dJBvpf wpds-c-gmtmov\"><path d=\"m3.38 6 .71-.71L8 9.25l3.91-3.92.71.71L8 10.67Z\"\/><\/svg><\/button><\/div>\n<\/div>\n<section class=\"PJLV PJLV-icCmARE-css dn-ns hide-for-print\" data-testid=\"mostRead\" subscriptions-section=\"content\"\/><\/div>\n<\/div>\n<p><br \/>\n<br \/><a href=\"https:\/\/www.washingtonpost.com\/entertainment\/music\/2023\/12\/14\/review-justin-austin-jonah-hoskins\/\">Source link <\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Comment on this storyComment Add to your saved stories Save A pair of recitals this week by baritone Justin Austin (winner of this year\u2019s Marian Anderson Vocal Award) and tenor Jonah Hoskins offered not just stellar singing and keen song selection but also a reminder of the expressive capability of a well-wrought recital program. There&#8230;<\/p>\n<p class=\"more-link-wrap\"><a href=\"https:\/\/ventil.rs\/blog\/entertainment\/review-in-a-pair-of-recitals-a-baritone-and-a-tenor-sing-their-life-stories\/\" class=\"more-link\">Read More<span class=\"screen-reader-text\"> &ldquo;Review | In a pair of recitals, a baritone and a tenor sing their life stories&rdquo;<\/span> &raquo;<\/a><\/p>\n","protected":false},"author":1,"featured_media":975,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/www.washingtonpost.com\/wp-apps\/imrs.php?src=https:\/\/arc-anglerfish-washpost-prod-washpost.s3.amazonaws.com\/public\/CSYSGVU7UZDR7F7NJC7QJLGYHI_size-normalized.jpg&w=1440","fifu_image_alt":"","footnotes":""},"categories":[5],"tags":[],"class_list":["post-974","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-entertainment"],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v17.8 (Yoast SEO v22.1) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Review | In a pair of recitals, a baritone and a tenor sing their life stories - Breaking News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/ventil.rs\/blog\/entertainment\/review-in-a-pair-of-recitals-a-baritone-and-a-tenor-sing-their-life-stories\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Review | In a pair of recitals, a baritone and a tenor sing their life stories\" \/>\n<meta property=\"og:description\" content=\"Comment on this storyComment Add to your saved stories Save A pair of recitals this week by baritone Justin Austin (winner of this year\u2019s Marian Anderson Vocal Award) and tenor Jonah Hoskins offered not just stellar singing and keen song selection but also a reminder of the expressive capability of a well-wrought recital program. 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