Lyric Fest's "Once Upon a Time'

A children's concert that adults can enjoy

TOM PURDOM

It takes guts to start an art song series. Art song is probably the least popular of all the standard musical categories. But a children’s art song program? Who could possibly think that would be a success?

Oddly enough, the Lyric Fest art song programs have included a children’s program in each season’s schedule, and it’s been one of the most enjoyable events on their card. One of my favorite Lyric Fest memories is the Ride of the Valkyries that ended a kiddiefest with a Halloween theme. Eight sopranos and mezzo sopranos marched up the center aisle at First Presbyterian with horned helmets on their heads, holding their music stands in front of them like spears as the organist banged out the prelude. It was funny; it got them on stage with their stands; and the kids got a good Ride, too.

This year the three divas responsible for Lyric Fest— soprano Randi Marrazzo, mezzo Suzanne DuPlantis and pianist Laura Ward— went for something really elaborate. They presented condensed versions of four operas, with a cast that included nine vocalists, the Motet Choir of the Pennsylvania Girlchoir, and a children’s performance group called Yes!...And Studio that’s directed by an actor named Jake Miller. They opened and closed with two operas built around fairy tales— Cinderella and Hansel and Gretel— and filled in the middle with The Magic Flute and The Barber of Seville.

First Presbyterian isn’t the best venue for this kind of program, since the pews are on the same level as the stage area in front. Lyric Fest wisely provided a children’s section in the front rows. The opportunity to enjoy the show without close parental supervision probably added to its appeal for the target audience.

Who needs a libretto?

I had trouble understanding the lyrics— a common problem with any vocal program— but I quickly decided it didn’t matter. You didn’t need a libretto to understand what Cinderella (Youngjoo An) and Prince Charming (Jeffrey Halili) were saying when they sang a classic love duet, and the rest of the program met the same test.

The clowning around included comic horses for Cinderella’s carriage played by Jake Miller’s young actors, a bald customer for the opening haircut in Barber of Seville, and a bullfight, with Miller’s protégés as the picadors, that accompanied a complete piano version of the overture to Barber. Miller impersonated the bull, narrated two of the operas, and tied the whole show together with additional mime and mugging.

In the midst of all this activity, the children also heard 21 musical selections, sung by young vocalists with credits that encompass most of the American and European opera circuit. At one point during The Magic Flute, the nine soloists wandered up and down the central aisle singing in ensemble. There is nothing like the sound of a classically trained, unamplified voice singing at full power at the end of your pew, a few feet from your ear. It’s something every child of the Stereo Age should experience at least once.

Why boychoirs are more popular than girls

I heard the Pennsylvania Girlchoir for the first time a few weeks ago at the Mendelssohn Club’s performance of Elijah. They are a happy addition to the musical resources of the region. Boy choirs are popular partly because boys have purer voices than women who sing in the same range. I won’t dispute the opinion of centuries, but I like the special sound of women’s choirs, too, and the Girlchoir adds its own distinctive lilt and grace.

The most important aspect of any children’s program, of course, is the children’s reaction. A couple of infants cried and had to be taken out, but I saw no other signs of restlessness. The Lyric Fest triumvirate achieved, once again, the highest aim of all art and literature aimed at children: They created something children and adults can enjoy together.