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The Harriman-Jewell Series brought Danielle de Niese to the Kansas City stage last Wednesday evening at the Folly Theater. In what was her American recital debut, de Niese demonstrated that she is at once a dramatist and a bit of a diva (no harm there, of course, especially when describing a soprano). 

The program was a sequence of thoughtfully chosen pieces that allowed de Niese to exercise all of the carefully honed expressive devices in her arsenal, from dynamic vocals to effusive facial expressions and sweeping gestures. The audience was treated right away to de Niese's opera singer persona as she opened the concert (fifteen minutes late) with two numbers from Handel's Semele, and with all of the talent and the personality that have contributed to her outstanding success in opera houses around the world. Each song to follow (including the encore) was narrative or intensely emotive, and each was a chance to develop another character (something de Niese does most convincingly) right before the audience's eyes; those dramatic capabilities are certainly a significant part of her connection with audiences, so that there was definitely something for everyone. 

The programmed songs (all accompanied by Cameron Stowe) showcased de Niese's agility, endurance, and charm, and it was a dynamic and well paced presentation. In the Handel arias that opened the program, de Niese deftly executed runs, not cheating a single note. Her focused tone was impressive, and the intelligent dynamic contrasts provided welcome variety to the repetitive Handel. De Niese was just coy enough to bring these two numbers to life on their own (that is, detached from their operatic setting), and listeners responded, enjoying the effective story telling. The middle section of "Myself I Shall Adore" proved the dramatic depth of this exciting soprano, and the vocal acrobats required seemed to not tire her remarkable voice. 

It was a treat to hear excerpts from Grieg's Haugtussa and a good opportunity for de Niese to confirm a wide range and a surprisingly rich lower register. A highlight was "Blabaer-Li" ("Blueberry Hill"), which required the soprano to act her way from hostile to naively seductive. Her diction was superb throughout. In "Elsk" ("Love"), however, de Niese pushed some sustained notes a bit too far, causing a rough release here and there. In "Ved Gjaetle-Bekken" ("By Gjaetle Brook"), Grieg is at his most pictorial, and here de Niese allowed the musical imagery to dominate (which meant Stowe could really exploit Grieg's writing that so effectively imitates swirling waters). The balance between soloist and accompanist was brilliant, as the character and the brook compared journeys via a de Niese/Stowe dialogue that was related in an echo pattern which only gradually reached a climax. 

Wolf's "Verborgenheit" ("Seclusion") is like an old friend to most sopranos, and de Niese's thicker quality here was welcome. She aptly brought out Wolf's signature melancholy by nursing the static recitation-like lines and rich chromaticism. It was in "Gesegnet, sei, durch den die Welt enstund" ("Blessed Be He Through Whom the World Arose") that listeners were perhaps more taken with Cameron Stowe's contribution. His expertise showed (he is a specialist in the study and performance of song recital repertoire) in his attentiveness to de Niese and in his ability to subtly deliver every nuance the piano part could add. 

The Poulenc songs were a lovely start to the second half of the program. De Niese seemed to revel in the French, experimenting with voice placement (at times bringing a more biting, forward sound then contrasting that with a more rounded, warmer timbre), which resulted in interesting plays on resonance. At certain moments, one may have thought they were listening to a different singer (although the signature dramatic antics were still in play). The Barber selections to follow proved again that Stowe is worth his weight in gold, as he exhibited the utmost patience with de Niese's dramatic delays and a special affinity for atmospheric expressive devices written into the piano part. In "Nuvoletta," de Niese truly revealed the depth of her imagination. Finishing the recital with the Bizet set was smart, and de Niese was still fresh: "Tarantelle" was really a culminating moment in diction, expression, agility, and range. 

Danielle de Niese is unabashedly demonstrative, so much so that in certain instances, her actions and facial expressions were overwhelming and distracting; she was often so fussy that the song took a backseat. Perhaps she is yet a bit undisciplined, or instead, maybe she is simply eager to pull out all the stops to do more to translate the song texts for listeners.  To be fair, de Niese's performance methods are a result of the intensity with which she delivers a song, so one is hard pressed to fault it too much. Listeners clearly appreciate the impassioned performance and enjoy those "human" moments when a singer seems to get lost in the moment, even if it is at the temporary expense of polish and poise. 

REVIEW
Harriman-Jewell Series
Danielle de Niese, soprano, with Cameron Stowe, piano     
Wednesday, February 4 at 7:30 p.m. 
The Folly Theater 

By Sarah Tyrrell

Opera, Vocal and Classical Contributor

Since 2004, Dr. Sarah Tyrrell has been part of the Musicology faculty at the UMKC Conservatory of Music. In 2003, she completed doctoral work at the University of Kansas and also holds degrees in music history and voice performance from the New England Conservatory of Music and Kansas State University. At UMKC, Sarah teaches undergraduate and graduate classes in music history and world music, as well as graduate seminars on American and Latin American musics. Sarah has presented her research locally and nationally (her research specialty is the art music of Brazil) and actively guest lectures about town on Brazilian popular subjects such as samba and bossa nova. Her articles and reviews have appeared in Musical Quarterly, Latin American Research Review, and Latin American Perspectives.

Sarah is also active in the Kansas City choral music scene: she is the Artistic Director of the Metropolitan Chorale of Kansas City and also sings soprano with the group. This 60-voice ensemble presents four concerts each year and recently completed a performance tour of Brazil.