Another Schwabacher Debut Recital, another Discovery.

For 22 years, James Schwabacher's "kids" got their first (or, at least, very
early) concert opportunity in San Francisco, from Thomas Hampson to Susan
Graham to Joyce DiDonato to Anna Netrebko...  and about 100 others.

Tonight, it was Allyson McHardy's turn, a thirty-something Canadian
mezzo, a 1999 Merola Program participant, singing a brief and yet
substantial recital.  The venue: Temple Emanu-El, a welcome change from
the acoustic and traffic-noise horror of Old First Church.

McHardy, who sang the title role in Merola's "L'Italiana in Algeri" four
years ago, and will make her SFO mainstage debut next season as Olga in
"Eugene Onegin," made an excellent impression tonight.

She has a dusky, attractive voice, she is a true mezzo, showing intelligence,
discipline and integrity as an artist.  She presented an unusual,
interesting, "serious" program, mostly appropriate to her: Schumann's
"Liederkreis," Ravel's "Chansons Madecasses" (the reason for the "mostly"
qualifier), and Elgar's "Sea Pictures."

McHardy's sincere artistry in service of the music (rather than the
razzle-dazzle of some of her contemporaries) shone through the concert,
even through the heavy-handed/footed, plodding, pedestrian, overwhelming
accompaniment by John Parr.

The Schumann cycle was a fine introduction to the singer with McHardy's
good German diction (a far cry from the mushy French in the Ravel) and
attention to the text.  Her phrasing was thoughtful, her projection
consistently excellent.  Occasionally, there was a near-wavering in the
voice ("Mondnacht") and loss of focus in expression ("Auf einer Burg"),
rushing through phrases ("In der Fremde"), but most of the cycle came
through with quiet dignity and beauty.

"Songs of Madagascar" is not for a debut recital. In the event, McHardy
could neither get on top of, nor sufficiently inside the music.  "Aoua!"
was the best, "Il est doux" seemed thrown away.  Cellist Emil Miland and
flautist Patricia Farrell provided the accompaniment.

She came into her own again with Elgar, although - strangely - her
English diction seems less crisp and precise than it was in German.
Also, in "Sea Slumber Song" particularly, at times, the voice turns
"inward," with a corresponding loss in projection.  And yet, "In Haven"
was to be treasured, a miniature jewel shining brightly, with a glorious
sheen in the middle voice, no showing off, just singing the music.

McHardy struggled bravely and even successfully with the muddled text
of "The Swimmer." Somehow she made the listener believe that Adam Lindsay
Gordon's "...now the stoutest ship were the frailest shallop in your
hollow backs, on your high-arched manes..." contained both sense and
emotional impact.  (Shallop is a boat, although I don't know what it
would do on a horse's back.)

Strauss' "Zueignung" was the single encore, well representative of the
entire concert: Parr was banging away, McHardy sang beautifully and with
restraint, almost - but not quite - moving the listener.  However, she
has the goods, may yet deliver, especially when supported better.

If only Wu Han (in the audience in her capacity as co-director of the
Music @ Menlo Festival) were on stage with her!

Janos Gereben/SF
www.sfcv.org
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