Julia Bullock brings variety and soul to this fine selection, says Kate Wakeling
CHORAL & SONG CHOICE
Walking in the Dark
Barber: Knoxville: Summer of 1915; plus works by John Adams, Oscar Brown Jr, Connie Converse, Sandy Denny et al
Julia Bullock (soprano); Philharmonia Orchestra/Christian Reif (piano)
Nonesuch 7559790817 41:24 mins
American soprano Julia Bullock has a glittering reputation for both her astonishing performances and her ongoing mission to centre Black composers in her work. This excellent album, blending orchestral works with more intimate, often jazz-infused numbers for voice and piano, focuses on music of personal significance to her.
The programme is anchored by two substantial pieces for voice and orchestra. Bullock’s blazing performance of John Adams’s ‘Memorial de Tlatelolco’, a fiendish aria from his opera-oratoria El Niño, showcases her exceptional technical and expressive range. She brings warmth and lyricism to Samuel Barber’s lush Knoxville: Summer of 1915. The Philharmonia conducted by Christian Reif is in fine form throughout, responding with clarity and fluidity to the ever-shifting textures and tempos of both scores.
The tracks for voice and piano are a highlight. Bullock’s performance of ‘City Called Heaven’, a traditional Black spiritual in an arrangement by Hall Johnson, is quite something.
Opening with softest melancholy, the vocal line swells towards an outpouring of emotion that is tremendously affecting. The jazz-based numbers are also outstanding and showcase the rare depth and richness of Bullock’s voice. The two songs closely associated with Nina Simone (whose influence Bullock credits in the sleeve notes) are a special addition. Bullock gives subtle but emotive performances of ‘I Wish I Knew How it Would Feel to be Free’ and ‘Brown Baby’, while Reif offers deft accompaniment on the piano.
PERFORMANCE
RECORDING
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Brahms
Liebeslieder, Opp. 52 & 65; Hungarian Dances – excerpts
Harmonia Mundi HMM902616 56:17 mins RIAS Kammerchor/Justin Doyle; Angela Gassenhuber, Philip Mayers (piano)
This recording of Brahms’s two collections of love-songs quasi Viennese waltzes is the latest in a large discography. It is spiced up by the insertion of a handful of the composer’s equally popular Hungarian Dances. It’s an appealing idea, evoking the kinship between Viennese and Hungarian music within the Habsburg Empire during Brahms’s lifetime. The songs can be sung by solo voic
