This past evening, in the the private catacombs buried away in the center of Green-Wood Cemetery, a woman’s high heels echoed over a murmur of sepulchral voices.
Those persistent footfalls belonged to an employee there. But the hushed swirl of voices weren’t coming from cemetery workers. While those sounds were on the quiet side, they were also very lively: the electricity of a sold-out crowd who’d gone deep into the realm of the dead to witness the first of three nights of the grand finale of the series called the Angel’s Share.
Drawing on classics by Mary Shelley and Edgar Allen Poe, pianist Gregg Kallor and cellist Joshua Roman built a relentlessly turbulent ambience, less classic horror film score than mashup of postbop jazz, the Second Viennese School and a little Olympian Rick Wakeman bombast. Yet this performance of pieces from Kallor’s current work in progress, a Frankenstein opera, as well as his epic oratorio The Tell-Tale Heart were ultimately less about instrumental pyrotechnics than vocal ones. And what voices these were!
The greatest achievement of Kallor’s scores turned out to be the contrast between the stubborn unresolve of the music and the sheer anthemic catchiness of the vocal melodies. Yet with all the tension and often outright suspense between the two, they were hardly easy to sing. Emerging from (and then eventually skulking back into) the Herrmann family’s private crypt, baritone Joshua Jeremiah gave the Frankenstein monster dignity and gravitas, along with a crushing solitude that rang starkly true to Shelley’s novella. Tenor Brian Cheney, as Dr. Frankenstein, channeled intransigent denial, but his angst grew more harrowing as the dialogue with his creation grew more emotionally charged. The takeaway from Kallor’s interpretation of the story seems to be that if you create monsters, be careful lest you become one. As the suite wound up, mezzo-soprano Jennifer Johnson Cano also offered resolute poignancy as the doctor’s fiancee and quasi-foil.
Kallor then delivered another world premiere, solo, playing The Answer Is Yes, a dedication to Leonard Bernstein (who according to the program notes is a permanent Green-Wood resident). The title is a typically exuberant Bernstein quote from a series of Harvard lectures, and rang true as Kallor methodically shifted gears between distantly Stravinskian, balletesque leaps and bounds, saturnine lustre and a little bittersweet blues. So many other composers inspired by Bernstein end up aping him. Kallor did nothing of the sort.
Cano then pulled out all the stops in The Tell-Tale Heart. Kallor and Roman edged closer to straight-ahead, chromatically slashing grand guignol as she gave voice to what appeared to be the entire short story. It was a dynamic tour de force that ultimately demanded every bit of available firepower and range-stretching technique. In between those extremes, she delivered furtive puzzlement, and grisly determination, and finally a knockout portrait of sheer madness. Whether modulating her soul-infused vibrato or belting with a crypt-shaking power, she put on a clinic in just about every emotion that could be evinced from this creepy character.
Without spoiling anything else, the costuming and lighting are spot-on and add immensely to the performance’s tension and suspense. Sometimes less is really more: in staging this, the crew really had to become intimate with the space.
The program repeats tomorrow and Friday, Oct 11-12 and is sold out. However, there is a wait list. In their inaugural season, this series became a huge hit with neighborhood folks, so if you are one of them, and ghoulish sounds are your thing, head up the hill to the cemetery and you might just get in.
Maybe you’ll even be able to take a refreshingly shadowy ten-minute walk back from the crypt, through the tombstones, afterward…despite this past evening’s crushing humidity, that stroll was as magical as the concert.