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Baritone Will Liverman & Pianist Jonathan King in Recital Will Liverman, a graduate of the Governors School for the Arts, makes his Metropolitan Opera debut this month in a new opera, *Marnie by Nico Muhly. He continued to develop his fabulous, burnished baritone voice, first at Wheaton College and then at Juilliard completing his Masters degree. He returned for a recital titled “Ezekiel Saw the Wheel: Songs of the Old Testament” with collaborative pianist Jonathan King who also received his undergraduate degree at Wheaton and his dual Masters degree from the University of Michigan. Mr. King will begin his Doctorate at the University of Maryland this fall. Mr. Liverman told us that “Mom encouraged me to read my Bible and out of that admonition came the theme of this concert.” The opening song Moses by Ken Medema was riveting. His low notes touched something very deep in my heart, resonating there as the story of Moses asking God “how will they know me?” and he was told, “strike your rod and water will come forth.” A marching piano tune accompanied Liverman's beautiful, dramatic delivery. From G.F. Handel's 1748 oratorio Joshua the powerful vocal trills of “See the raging flames arise” rang out. In the phrase “proud Jericho has met her doom” Mr. Liverman used the depth of his voice on the word “doom”. Without pause they moved smoothly into Hall Johnson's Witness telling the story of little David's defeat of mighty Goliath with its high-note ending. The audience erupted in great applause. The mood changed to sorrow in King David (1921) by English composer Herbert Howells. Mr. King's keyboard magic gave us the full pathos, only to take it away as bird song healed David's troubled heart. An arrangement of the spiritual Great Day by Shawn Okpebholo (b. 1981), whom our performers most likely met at Wheaton College, followed. There was depth and power in the delivery of the text and the sophisticated piano accompaniment; together they made this old favorite a new song. This was followed by a dramatic scene on Mount Carmel from Felix Mendelssohn's (1809-1847) oratorio Elijah (1846), where God, like a hammer, breaks the rods of iron to build up Zion's walls. The second set opened with a Gospel song He'll Bring it to Pass in an arrangement by Joseph Joubert, contemporary Broadway musical director, pianist and composer. Top riffs in the piano and Liverman's powerful voice spoke of the importamce of prayer with a sense of joy and an over-the-top ending. Text for the moody French song Sainte by Maurice Ravel was by Mallarmé, whom Ravel considered France's greatest poet. The fascinating oblique, old, venerable words were set reverentially and sung quietly. Without pause they launched into a song titled Psalm 139 from Carlisle Floyd's (b. 1926) opera Susannah (1955). Reverend Blitch, the traveling preacher, sings of our being unable to escape God's presence. It is one of the most emotionally stirring songs you will ever hear and their performance was impeccable. The Metropolitan Opera bass Sam Ramey's signature performance is my template for this piece. Then there was Belshazzar, Op. 57, an art song set by Robert Schumann in 1840. Heinrich Heine based his text on the Bible story of this doomed king of Babylon, voiced by our singer, who tells of the glittering dinner party and Belshazzar's defiance of God that leads to his death. It was a most dramatic performance. A well-known spiritual in an equally well-known arrangement by William Dawson (1899-1990), Ezekiel Saw the Wheel, showcased Mr. Liverman's beautiful baritone sound while warning us about hypocrites. The next song, Virgin in the City, was a wonderful surprise. The new-to-us composer, Georgy Sviridov (1915-1998), was Shostakovich's first student at Leningrad Conservatory and is known for his songs (text: Alexander Blok). This moving story line brings what was an Old Testament promise into the coming of the Christ child to “my black city.” The blonde child's hand held by a passing woman at eventide in the darkness of the cathedral moved the poet to tears. The closing song, God is A God, arranged by Wendell Whalum (1931-1987), was delivered gently, plumbing the depths of the consoling words. The encore for this rare recital, a memorial fundraiser for Will's friend Ira Harris, who died in an auto accident when they were young men, was Shall We Gather at the River. A tender, shared time gently sung as tears rolled down the singer's face, leaving us with a deep feeling of loss in this sacred eulogy. Overall, pianist Jonathan King left an impression of bursting with great talent and goodwill. *October 19, 22, 27 & 31, November 3, 7 & 10, 2018 |