Greta Feeney, a talented young coloratura, has a big, bright voice,
daring and courage in excess, and blazing ambition.  Her Schwabacher
Debut Recital tonight, in San Francisco's Old First Church, had a most
unusual program (including two world premieres), an intriguing theme,
and a title from the 'Sixties.

"Misunderstood Women: Matriarchs, Martyrs and Mistresses of Metaphor"
included music written to text by Pashtun women, Schumann's "Poems of
Mary, Queen of Scots," Rossini's seldom-heard, wonderful Joan of Arc
aria from "Sins of My Old Age," the premiere of two "Miriam Poems" from
an exciting new composer, Daniel David Feinsmith, John Harbison's "Mirabai
Songs," and William Walton's "Daphne," "Through gilded trellises," and
"Old Sir Faulk."

Brava!  For the selections, if not for the title, and - unfortunately -
not for the execution.

If she has the voice, the dedication, the gumption, what ain't she got?

Subtlety, shading, warmth, intimacy, connecting with the audience beyond
the "I sing, you listen" mode.

At this point, at least, the young soprano is simply "too much," or she
was, on this occasion.  Unlike her fine appearances with the SF Opera
until now, especially in "Hansel & Gretel," tonight's Feeney sang with
a hard edge, pushing the voice (which could just float easily), slurring,
scooping, with uncertain rhythm, poor diction, and a kind of sameness,
lack of warmth.  In the encore, "Musetta's Waltz," she stayed off pitch
as much as on.

What was going on?  This was not the Greta Feeney we have known.  Perhaps
the challenge of carrying a whole program by herself - an admirably brave
and different program at that - proved too daunting.

The un-variegated, dull, expressionless phrasing was especially bothersome
in the Schumann and Harbison songs.  The Rossini was better, but wildly
inconsistent.  She was showing off the voice, not communicating emotions
with sincerity.

The best part of "Giovanna d'Arco" was the long, complex piano introduction,
John Parr playing exquisitely - making up for some of the loud banging
he produced at other times.

Bruce Rockwell's "Pashtun Songs," the other premiere, was more interesting
in the explanation of the text than in its completely un-idiomatic music,
unrelated to anything in Afghanistan or in the Middle East, basically
generic neo-American.

Brief and to the point, the poems are fine.  Example: "Oh, Luth!  I wish
to see you broken to pieces / It's me he loves and it's you who whines
in his arms."

Feinsmith's "Miriam Poems" are stirring and clearly indicative of the
37-year-old composer's ability.  Both Feeney and Parr were at their best
here.  In the middle of the second Walton song, communication by the two
also reached out to the audience, unlike most of the program.

Possibly for the first time, James Schwabacher did not attend a concert
in the series he has founded and supported for years.  Here's hoping for
his return soon, along with reclaiming the real Feeney.

Janos Gereben/SF
www.sfcv.org
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