Davóne Tines is a tall, good-looking bass-baritone with a voice of thrilling high quality within the decrease registers; the instrument thins out barely however elegantly within the higher ranges, when he reaches, fairly comfortably, for notes normally assigned to tenors. His diction in a number of languages (amongst them English) is excellent—not a syllable he sang at Weill Corridor final Thursday evening was lower than clear, crackling, understandable, intensely felt.
He has sung with Early Music teams and avant-garde ones, and he has a style for tasks that cross creative boundaries, which fits an innate showmanship with one thing of the Pentecostal preacher educating a stern lesson mixed with the preening actor drawing his viewers into the story he appears like telling.
Due to this fact Davóne’s recital was no strange recital, which delighted many listeners (the occasion was bought out) however irritated a couple of overheard on the way in which out, who felt this system was too temporary and too centered, for the specimen music recital that they had hoped for.
However maybe the old school model of music recital is on its approach out; maybe one thing new is being constructed (by singers like Joyce DiDonato and Nicholas Phan and Barbara Hannigan) with its roots within the Liederabend.
Entitled “Recital No. 1: MASS,” Tines’ program, given with out the interruption of applause or of pauses to applaud in (he hurtled proper on, from part to part, making a unit of his multifarious sources), was a conglomerate of musical texts utilizing the Catholic Mass, that mixture of invocations, praises, prayers for mercy and assertion of creed, as a template for musical building and meditation.
The Catholic Mass has been set to music extra instances, by extra totally different composers, than any textual content ever written, however Tines does hardly bothers with it—apart from to carry out the Greek Kyrie, the Latin Agnus Dei and Sanctus, and these are solutions for meditation. It’s the message that he needs to dwell on, the story he needs to inform us by way of music of a soul’s journey—his personal and ours. He has turned to a number of composers to set it and to assist him inform it.
There have been two Bach arias, with the messages “How sorry I really feel for these perverted hearts” (from BWV 170) and “Make your self pure, my coronary heart” (from the St Matthew Ardour), which don’t permit us to calm down into soothing melodies however search a sure which means of the texts and din them into our ears, musically sure, however with the strain, the unsung query: “Do you get it? Do you perceive why I’m saying this?”
There have been a number of spirituals, sung in a Black church model, with emphatic melismas, pointing sure phrases, lingering on prayers, beseeching and guiding the way in which. (Margaret Bonds, whose setting of Countee Cullen’s “To a Brown Lady, Lifeless,” was given an eloquent studying, stated she would think about no honor greater than to share a recital program with Bach.)
The spirituals recomposed by Tyshawn Sorey (“Had been You There?” and “Swing Low, Candy Chariot”) and Moses Hogan (“Give Me Jesus”), sung with emotional resort to sermonizing vocal approach, console and exalt but additionally warning us, Tines’s congregation, to contemplate the ends of life, the needs of existence. Every listener might take this in her or his personal approach, however the usage of music, declamation, efficiency is to make us pause and think about.
Julius Eastman’s Prelude to The Holy Presence of Joan d’Arc is a setting of Joan’s imaginative and prescient of saints commanding her to talk. As Tines sang it, this was abrupt, forceful, crucial. “Communicate boldly once they query you.” Duty and braveness are demanded of Joan, and of every of us, talking fact to energy or the inquisition or anybody else. No weak spot, no shyness might be tolerated: Unfold that message! Tines was stern as any preacher in any pulpit; his saints usually are not reserved or genteel.
All of the strategies he has studied, in church and in conservatory classroom and in a Renaissance music group, have been introduced into play, marshaled to his sermonizing, his guided meditations.
The accompanist (for these items not sung a cappella) was Adam Nielsen, a refined, supportive pianist.