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A Marilyn Horne Recital
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10005 |
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Section : |
THE ARTS
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| Issue
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4 / 1986 |
926 Words |
| Author
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Emerson Randolph
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It is axiomatic that when an artist is acclaimed as universally and enthusiastically as mezzo-soprano Marilyn Horne, the pressure is on for every performance. Audiences always come expecting greatness.
The Carnegie Hall audience on February 27, at Miss Horne's only New York recital of the season, got just that. Again.
That was clear from the audience's reaction at the end of her demanding and highly varied program. For the last two of the five encores, every person in the capacity crowd if 2,800 long on their feet and irrepressible, excitedly sat down and got settled in again.
American-born Horne is a credit to the arts in this country. The program on February 27 was something one would expect to find in this "melting pot" nation--an adventurous mix of composers from five different nations and a representation of four different languages, all sung with authority, and some with almost tangible passion.
Miss Horne's agility is what legendary musicianship is made of, and after her opening selection, "Piango, gemo, sospiro" ("I Weep, I Grieve, I Sigh"), from Antonio Vivaldi's cantata of the same title, she was stunning in her execution of the rapid melismas in George Frideric Handel's "Furibondo spira il cento" ("Fierce blows the Wind") from Partenope.
With regard to the firmament of elements that contribute to the achievement of greatness in the performing arts, it would be presumptuous to single out any one of them as central or key. But certainly two
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