The radiant moon faced loveliness of the Mother Goddess, who grants the wishes of the devout and slays the evil, was elegantly depicted, with an ideal mix of footwork and an admirable degree of excellence in technique.
Schumann's scenes of childhood, unrequited love
The challenge of this music for the virtuoso player lies not in its notes but in their interpretation, as the piece requires a mature artist’s poetic wisdom yet also a capacity for a more naive sense of play, of fantasy, and of wonder. I think it was this blend of qualities that made Russell Sherman’s account of the “Kinderszenen’’ on Sunday at Emmanuel Church as satisfying as it was. You sensed the rocking-horse grandeur of the “Important Event,’’ the strangely alluring mystery of “Curious Story’’ yet also the wistful autumnal repose of the famous “Träumerei’’ (“Dreaming’’). In Sherman’s hands the final miniature, titled “The Poet Speaks,’’ possessed a kind of lapidary eloquence, with notes set off by deep silences and closing chords that seem to glow quietly from within.
It was also an apt way to introduce Schumann’s “Dictherliebe’’ (“Poet’s Love’’), which followed in a performance by Sherman and tenor Frank Kelley. The two men are fresh from another Emmanuel Music collaboration earlier this month, and their account here was keenly alert to the subtleties and ironies of Schumann’s Heine settings, forged by the composer into a narrative of unreciprocated love. Kelley’s tenor is not the most polychrome of instruments and it can often take on a certain pressed quality. But at his best, as he was in this spellbinding performance, he transforms these limitations into an interpretive strength - a kind of clarion emotive directness - that becomes part of his vocal signature.
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