RSS 2.0 FeedNovember 4, 2009, Cover Stories, Classical
Dame Emma Kirkby is still spritely at sixty
Dame Emma Kirkby reminds me of Shakespeare's Queen Mab, that mythological fairy that makes mischief in people's dreams. Taking the Polsky Theatre stage at Johnson County Community College last Friday night with lutenist Jakob Lindberg, she presented the music of John Dowland and Henry Purcell.
Dame Emma Kirkby reminds me of Shakespeare's Queen Mab, that mythological fairy that makes mischief in people's dreams. Dressed in a green silk wrap jacket, peasant skirt and elfish leather shoes, she has the unsuspicious sweetness of a woodland fairy, but sings tales of heartbreak and lost love with relish. Taking the Polsky Theatre stage at Johnson County Community College last Friday night with lutenist Jakob Lindberg, she presented the music of John Dowland (1563-1626) and Henry Purcell (1659-1695).
Emma Kirkby's voice has always been known for its purity, flexibility and bell-like resonance. One of the first sopranos' to be accepted for singing with a straight tone, Kirkby inspired a generation of non-operatic singers. Her connection with such groups as the Taverner choir and the Consort of Musicke helped to popularize early music throughout the world. She was even ranked number 10 in a survey of critics "greatest sopranos."
In her 60th year, Kirkby still performs regularly and tours, but her voice has changed. It still has its delicate sweetness, but there is more vibrato which gives it a folk-like authenticity that audiences relate to. She has the ability of a troubadour to sing fascinating stories.
Dame Emma began with the song, Come, heavy sleep which tells the tale of a person wanting death to take them from misery. Her ability to phonate into the first notes wasn't apparent. She sang quietly to the subtle support of the lute. John Dowland's songs are plaintive airs that spin tales of unrequited love, lost love and tortured love full of adolescent angst. Yet, the beauty of these pieces is their passionate texts and melancholy descent which were sung with conviction.
Sitting behind a small black cloaked table, Jakob Lindberg interspersed lute arrangements throughout the concert which gave Kirby a chance to rest her voice. His lute, a 10-course Renaissance by Sixtus Rauwolf, was built in 1590. Honey colored, with a thick neck and beautiful cathedral rose window-like sound hole, it is the oldest lute in playable condition with its original soundboard. It is pitched one tone below modern pitch which might explain why Kirkby was singing in the lower, less effective, part of her range. He mentioned that there is a place worn down on the body of the lute where everyone who ever played the instrument has placed their pinky. Watching Lindberg expertly coax the past from the strings was like being transported back to a court banquet of Queen Elizabeth. Music can take us back in time unlike any other art form.
The Purcell set in the second half was a collection of delightful, poignant and even bawdy songs that showed off Kirby's range of expression and interpretation. Purcell was a more florid composer and Kirkby's elegant ornamentation seemed spontaneous and improvisational. Lindberg was able to play a broader range of strings and use a thicker more supportive chordal accompaniment.
Concluding the concert with one of Purcells most beloved arias, Music for a while, was a masterstroke. Full of creepy Halloween imagery and mythological references it is an aria fit for Queen Mab.
REVIEW
Orpheus in England: Music of Dowland and Purcell
Dame Emma Kirkby with Jakob Lindberg, lute
October 30, 2009
Polsky Theatre at Johnson County Community College
http://www.jccc.edu/home/depts.php/001440/site/ChronList0910
Classical, Vocal and Theatre Contributor
Megan Browne Helm grew up singing, dancing and acting. Inspired by Emma Kirkby as a high school student in St. Louis she went on to study voice and sing with the Collegium Musicum at the Oberlin Conservatory in Ohio where she also had a radio show of contemporary classical music on WOBC. At the University of Kansas she had the pleasure of working with former Kings’ Singer, Simon Carrington in his Collegium Musicum and Oread consort. Years later, she was a choral fellow at the Yale School of Music’s Norfolk Chamber Music Festival. She is currently singing with the Kansas City Symphony Chorus under the direction of Charles Bruffy.
As a freelance music and culture writer her work can be found on KCMetropolis.org, presentmagazine.com, the Lawrence Journal World, Shawnee Magazine, Leawood Lifestyle Magazine and KC Parent. She was one of 26 journalists in the country chosen as a NEA Institute Fellow for Classical Music and Opera at the Columbia University Graduate School of Journalism.
Her current interest is how classical music remains relevant through active collaborations with artists in different fields, including science. She also sees a connection between classical music, travel and food as a way to engage all of the senses in a 360 degree cultural experience. She blogs at raworganum.wordpress.com.
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