All too often singers of this repertoire chose personal favorites, something that doesn’t always allow performers and listeners to experience a cohesive program. This recital, however, includes two full cycles, Ivor Gurney’s “Five Elizabethan Songs” and Benjamin Britten’s “On This Island”, both allow Devos to showcase her ability and to take us on a unified journey.
Devos eloquently conveys the slightly reserved nature of Gurney’s cycle, also mirrored in the sensitive accompaniment by pianist Nicolas Krüger. The natural and expressive qualities in the first song (“Orpheus”), are contrasted with the more muted tones of “Tears”, in which Devos projects melancholy with gentle expression. In the final song of the cycle, “Spring”, Devos and Krüger (who together find occasional moments of humor) are utterly persuasive.
In Britten’s “On This Island”, Devos is respectful of the composer’s style, but still brings warmth to his often astringent sound. She doesn’t aim to emulate Peter Pears, but to make her own authoritative stamp on the music. Overall, Devos is far from operatic, her voice has an intimate quality with a pure tone and less-obvious vibrato. Tempi choices are exciting in the quicker songs without sounding hurried. In the first song — “Let the Florid Music Praise”, Devos is sprightly and her breath control is impressive. In the slower song (“Nocturne”) Devos has ample technical security, which enables her to take risks; elongating the vocal line into something more languorous, she conveys a stillness with the uttermost musicality. I did notice momentary lapses in diction and the voice is not as pure as Lynne Dawson or James Gilchrist in this cycle. That being said, both comparisons lack the same vivacity in pacing.
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The remaining of the program contains a miscellany of songs by British composers or those from further afield who chose to set English texts into music. The two songs by Frank Bridge are among the highlights of the album; The three songs from William Walton’s “Façade” are not obvious choices, but Devos’ gentler voice highlights their more unconventional nature, even if, again the diction is not perfect.
Songs by Darius Milhaud, Patrick Leterme and Germaine Tailleferre form part of the concluding items. They are not names instantly associated with English song, but they reveal Devos’ knowledge and understanding of the genre; combined with passionate and expressive performances, they make strong additions to the program.
The inclusion of the final songs in the program is curious and disappointingly less-convincing, being stylistically inconsistent with the proceeding items. “You Take My Breath Away” by Freddie Mercury is performed in Mercury’s own arrangement. Devos has many timbres to her voice and is generally versatile and adaptable. Here, though, she slips into more pop or musical style rather than classical, while not sounding entirely comfortable. This ending provides a slightly disjointed end to an otherwise insightful recital.
“And Love Said…”
Jodie Devos, Soprano
Nicolas Krüger, Piano
Alpha Classics / Outhere Music, CD ALPHA668
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