Soprano Ana María Martínez gave a recital last night at Walter Hall with pianist Craig Terry as part of Toronto Summer Music.  Ana’s background is Cuban and Puerto Rican and, of course, linguistically Spanish.  So it felt appropriate to have a programme in two halves.  One devoted to Spain and one to the trans-Atlantic diaspora (if we can call it that).

So, the first set consisted of de Falla’s Siete canciones populares  españolas followed by Turina’s Poema en forma de canciones.  These are both well crafted cycles taking Spanish texts and combining them with Spanish dance rhythms and elements of Andalusian singing style to create something for the late 19th/early 20th century art song market with its fascination with “folk music” and the exotic.  They are accomplished and interesting examples of the genre with really complex piano parts (beautifully played by Craig) and strangely unaffecting lyrics.  That said, Ana sang them quite magnificently.  She has a rich, powerful soprano with a wide range of colours that she uses to good effect and she gets what the music is all about.

The second half was made up of songs from Cuba and Puerto Rico with a nod to Mexico and Argentina, and from a slightly later period.  This is the “Caribbean” that Ana identifies with (and it’s a very different Caribbean from the one I think I know; that of Brian Lara, Bob Marley or CLR James rather than Fidel Castro!)  The songs are more direct.  Whether showy numbers from Zarzuela type works (Marin’s “Preciosa” for example) or something darker, infused with the pain of colonialism and racial tension like Montsalvatge’s “Cancíon de cuna para dormir un negrito” in which the height of ambition for a young black child is to become an indoor servant.  They got a high energy, bravura performance from both musicians.  It showed the songs to great advantage and was a lot of fun.

So a most enjoyable evening in Walter Hall.  It did leave me wondering whether Ms. Martinez chose the rep to stimulate the wide range of questions it posed for me or was i just overthinking it?

Photo credits: Lucky Tang

Finally, I want to mention that this concert was dedicated to the late Jim Norcop who sadly left us, full of years and with a fabulous record of service to music in Canada, in April.  Few people did more to promote art song than Jim.  He sponsored the annual song prize at UoT and countless concerts.  He was much involved with the vocal section of the Montreal International Music Competition (and was the reason I was able to attend a few years ago).  He was also an important influence on my development as a writer about music, especially song.  He was unfailingly encouraging, especially in the early days, and I took great strength from his encouragement.  I, and many others, will miss him sorely.