Metropolitan Opera SummerStage 2021 Review: Summer Recital

Leah Hawkins, Will Liverman, and Paul Appleby Deliver a Memorable Performance in the Park

By Logan Martell
Credit: (Jonathan Tichler / Met Opera)

August 8, 2021, saw the return of the Metropolitan Opera’s SummerStage Recital for a single evening of operatic favorites from acclaimed artists. Opera lovers new and old gathered in Central Park amid the fog and rain with their spirits mostly undamped.

The artistic lineup was comprised of tenor Paul Appleby, soprano Leah Hawkins, and baritone Will Liverman, all accompanied by pianist Brian Wagorn.

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Opening the program was Liverman, with “Largo al factotum” from “Barber of Seville.” His rich, confident flair fit wonderfully with Wagorn’s accompaniment, and the two were able to draw out Figaro’s sense of love for his work before a swift but smooth transition kept the energy going. Liverman’s rendition made use of a range of techniques, interpolating downward ornaments or comical falsetto, while maintaining a sense of dynamic.

The next number was “Io son l’umile ancella” from “Adriana Lecouvreur,” sung by Leah Hawkins. Her opening phrases of humility were treated with great delicacy, one that belied her lush, expansive soprano before these latter qualities were put on fuller display. Hawkins deftly flowed between a hushed, lyrical beauty, and a more arresting power, until her soaring conclusion which earned much applause.

Following this was Paul Appleby, with “Dein ist mein ganzes Herz” from “Das Land des Lachelns.” The infatuated nature of the text was bolstered all the more by Appleby’s touching delivery, bearing affection and vulnerability, while not becoming overly-sentimental as those feelings swelled to a strong finish. These qualities were taken up a level in his next aria “Ah, je vais l’aimer,” from Berlioz’s “Beatrice et Benedict.” The sudden love and its comedic circumstances found much expression in Appleby’s spirited rendition as he was drawn about the stage with passion as well as confusion, all the while delivering ardent, romantic lines.

The first duet of the night was “La ci darem la mano” from “Don Giovanni.” This number of seduction was finely conveyed by the contrast of Liverman’s surety and Hawkins’ highly-demurring approach, which soon pivoted to one of flirtatious excitement as she gave in to his advances. Continuing in the theme of lusty noblemen was Liverman’s next selection “Hai gia vinta la causa” from “Marriage of Figaro.” Here, the Count’s suspicions were introduced as Liverman’s phrases carried with a biting sentiment that soon unfolded into swift but earthy plotting.

Two of Hawkins’ numbers saw her fill a famous diva’s shoes. The first, “Quando m’en vo” from “La bohème,” was opened with a nice mixture of sass and sweetness, with Hawkins bearing a relaxed certainty as Musetta’s passionate leaps and runs were executed with ease and beauty. The second was the “Habanera” from “Carmen,” where she indulged in the sultry measures laid out by Wagorn.

Duets and Newer Works

The next duet was “Au fond du temple saint,” from “Le Pecheurs des Perles,” Appleby and Liverman’s respective vocal nuances made a fine match as they exchanged nostalgic phrases, remaining in tight sync even through the sparring of their sudden hostility, and their bracing reconciliation.

A more contemporary choice came in “New York Lights,” from William Bolcom’s “A View from the Bridge.” Appleby softly illustrated the perspective of an Italian immigrant now residing in the city, the relaxed accompaniment bore chromatic features which gave a nice sense of local color. These sights and wonder were capped with Appleby’s remarkably sweet outpouring which drew great applause before transitioning into the next duet, “Lippen Schweigen” from “The Merry Widow.” As Hawkins joined him onstage, Appleby quickly immersed her in the musical and dramatic atmosphere before she matched these qualities with sonority. While the artists kept their distance through most of the recital, a nice show of closeness came as Appleby and Hawkins slowly danced through the instrumental sections.

Another favorite was the “Toreador Song” from “Carmen,” sung by Liverman. His rugged interpretation was sufficiently tinged with danger and delight in the thrill of the ring, with the accompaniment’s staccato in the chorus lending a light touch to balance the excitement. A later number, “I got plenty o’ nuttin’” from “Porgy and Bess,” made for a much brighter contrast of tone and character. Liverman’s hale delivery made use of not only flexible vocal technique, but resounding tones which demonstrated Porgy’s newfound inner wealth and love, which he closed with uplifting power.

Following this was “You’ll Never Walk Alone,” from “Carousel.” Hawkins’ opening bore a slower feel and a sense of gravity which was gradually and beautifully undone, as she soared in this selection of hope and overcoming.

Among the final numbers was “Maria,” from Bernstein’s “West Side Story. While Appleby’s vocal approach was more operatic in quality, it nonetheless translated well for this musical theatre piece. His many repetitions of the name each had their own nuance as they rang with passion and possibility. This romantic charge carried the number well, and strongly prepared his captivating, near-falsetto finish.

Last on the evening’s program was the final duet from William Grant Still’s one-act opera “Highway 1, USA.” This number of reconciliation saw Liverman use warm, longer phrases over which Hawkins soared, venting her character’s own concerns regarding their marriage, as the two vocally navigated their way to common ground and a massive conclusion.

Encoring on Broadway

After the applause, each artist treated the audience to one encore, drawing from the repertoire of musical theatre. First, was Appleby with “Bring Him Home” from “Les Miserables.” The delicate, prayerful tones he used to start gave way to a richer outlining of Valjean’s supplication. Finishing with an initial pianissimo, Appleby’s crescendo turned the plea into a thing of power.

After this, Liverman accompanied himself to perform a jazz rendition of “Some Enchanted Evening” from “South Pacific.” The smooth rhythm had an almost bossa-nova flair that, while more relaxed than usual arrangements, still bore great romantic sentiment and skillful execution.

The final encore of the night was “Climb Every Mountain” from “The Sound of Music,” a selection which Hawkins chose for its powerful, uplifting message. Her tender introduction swelled through the chorus, building into a truly jubilant outpouring of sound. The sense of overcoming hardship was made all the more impactful thanks to the weather, as Hawkins delivered these phrases amid the growing rain and wind to create a wonderfully striking scene both visually and aurally.

Despite the difficulties posed by the pandemic, as well as the evening’s weather, Sunday’s concert made for a heartening musical experience where both the artists and audience delighted in the chance to share in the show once more. Programmatically, there were a number of selections from concerts of previous years, such as “La ci darem la mano” and “Hai gia vinta la causa,” where other beloved pieces could have gone. The newer works, as well as the artists’ innovative renditions, kept the recital fresh and thoroughly entertaining. While performing arts companies such as the Met still navigate the myriad challenges faced by the industry, Sunday’s performance was something of a ray of hope for a return to better days.

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