Performers: Williams Chamber Players (Rob Phelps, guitar, Doris Stevenson, piano, Matthew Gold, percussion, Erin Casey, soprano, Kerry Ryer-Parke, soprano, Keith Kibler, bass-baritone, Edwin Lawrence, piano, Elizabeth Wright, piano), Jennifer Ashe, soprano, Charles Blandy, tenor, Ian Hale, percussion

Program: Ignacio "Indio" Figueredo (1900-1995), "Los Caujaritos" for solo guitar; David Kechley (1947-), "Colliding Objects" for piano & percussion (New England premiere); Mozart, "Prenderò quell brunettino" & "Soave il vento" from "Così fan tutte", "Sull'aria" & "Cosa sento, tosto andate" from "Le Nozze di Figaro", "Dies Bildniss ist bezaubernd schön", Act 2, Scene 29 from "Die Zauberflöte"; Bartók, Sonata for 2 pianos & percussion

Removed from the smaller Brooks-Rogers Recital Hall (Originally scheduled here), probably for more space on stage, this rather eclectic program had something for almost every classical taste: Opera (Mozart), Avant-garde or contemporary (Kechley & Bartók), & a more traditional, non-threatening guitar piece that made an excellent opener.

To compare & contrast the 2 non-traditional pieces on the program: Kechley's work in 3 movements (Dragon's Dance; Dramatic, Delicate, & Dreamlike; Duels & Dialogues), while it does have what is described as a "heated climax" by the composer in the program notes, is much less in your face, jarring, or dissonant than the Bartók, probably because of the instruments involved: Marimba, gongs, blocks. The only criticism I have of the Kechley piece is its length, as the interaction of colors & textures was extremely interesting, & even the less subtle "interaction" of pianist & percussionist did not "strike" me as intrusive or overly wrought.

The Bartók piece, on the other hand, also a bit long for this program ("Too many notes"?), struck me as not without musical interest but overly wrought & unnecessarily dissonant. In 3 movements (Assai lento-Allegro molto; Lento, ma non troppo: Allegro non troppo), this seemed to me to be a sort of sonic essai, the composer trying to force equanimity on all the instruments, the 2 pianos being on a par with the percussion (timpani & xylophone). While this piece was well played by all 4 performers, it never went beyond being an essai, an experiment with different "colors & textures".

The highlight for me was the vocal component of the concert, specifically the incomparable Keith Kibler & Charles Blandy, but also the interaction of sopranos Ryer-Parke & Casey — Though I thought these latter 2 were somewhat miscast, Ryer-Parke was much better suited to the role of Susanna, as she has vastly superior theatrical skills than Casey & was most expressive in the duet from "Figaro". She also has a much bigger voice! "Soave" with the addition of Kibler is almost a caricature of the exaggerated opera moment, here a farewell scene.

Blandy excelled in the aria from "Zauberflöte", & I do not say that because I know him & his parents. His diction was absolutely perfect, every syllable was perfectly understandable, a quality I value highly as a language person! Also, his acting skills, expressivity, use of body language & gesture, almost rival those of Kibler, which is saying a great deal! Ham on high!

Kibler was superb in his only sustained performance of the evening, Act 2, Scene 29 of "Zauberflöte", reprising in part his performance in an earlier concert with the Battenkill Chorale in Greenwich. Ryer-Parke was a most appropriate pairing with Kibler in the famous Papageno-Papagena duet. I disagree with Kibler, who wrote the program note for the Mozart selections, that this duet is better sung in English than German, because "it must be immediately intelligible". Yes, to be sure, given the nature of the scene, what Kibler calls "its simple directness", perhaps performing it in the local vernacular may enhance the audience's understanding of what is going on, but my contention is that whatever song or work is being performed ought to be in the original, to the extent practicable. I have had this argument with others before, in the context of oratorio as well as grand opera, & I suggest that "intelligibility" may be taken care of with a summary or synopsis in English of the content or action, leaving the work in the original. There is a real difference, in tonality, nuance, & inflection, not to mention color & texture, between German, Italian, French or Russian & English! End of linguistic sermon!

All in all, with the minor reservations noted above, this was a delightful, most interesting evening of vocal & instrumental chamber music, something I have come to expect of this ensemble.

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