<\/p>\n
We began in the world that was\u2014in the humid atmosphere of fin-de-si\u00e8cle Vienna, from which Zemlinsky, Schreker, and Schoenberg emerged. In a program note, Blier wrote that the \u201cFugitives\u201d concept was inspired by Zemlinsky\u2019s \u201cMeeraugen,\u201d or \u201cSea Eyes,\u201d which tells of a \u201cperson staring into the roiling abyss of the ocean.\u201d You had the feeling, as the evening went on, that the crushing realities of twentieth-century history\u2014war, revolution, inflation, the Depression, Fascism\u2014made such refined aestheticism untenable and forced composers onto other paths. But NYFOS<\/em> imposes no stylistic ideologies, and if, in 1939, Ullmann felt compelled to dive back into Straussian late Romanticism, Blier sees nothing contradictory in the gesture.<\/p>\n When a recital ranges from \u201cMeeraugen\u201d to Kurt Weill\u2019s \u201cBuddy on the Nightshift,\u201d by way of Kr\u00e1sa\u2019s atonal Five Lieder and Hanns Eisler\u2019s Brecht setting \u201cThe Landscape of Exile,\u201d singers of extreme versatility are required. The duo on hand for \u201cFugitives\u201d\u2014the mezzo Kate Lindsey, a veteran of the series, and the baritone Gregory Feldmann, a new addition\u2014met the challenge. The pianist and vocal coach B\u00e9n\u00e9dicte Jourdois, NYFOS<\/em>\u2019s associate artistic director, assisted with the accompaniments and with the stage patter, of which there is always a fair amount. Blier is a strong personality, as his entertainingly candid book reveals, but he is a genial host, and also a knowledgeable one. If he dominates the party, you don\u2019t want to leave.<\/p>\n Feldmann, a relatively recent Juilliard graduate, showed his Lieder-singing chops in the Viennese fare, his tone robust, his diction crisp. He could have brought a sharper edge to political songs by Eisler and Weill\u2014the latter\u2019s \u201cCaesar\u2019s Death\u201d needs more of a snarl to make its anti-Fascist allegory clear\u2014but he shifted effortlessly into Broadway belting in \u201cLove Song,\u201d from Weill\u2019s \u201cLove Life.\u201d Erich Wolfgang Korngold\u2019s \u201cMy mistress\u2019 eyes are nothing like the sun,\u201d a radiant song by a composer who did so well in Hollywood that classical snobs wrote him off, benefitted from a plush timbre. Feldmann learned all this esoteric repertory in just a week (after Justin Austin dropped out on account of illness), making his achievement somewhat heroic.<\/p>\n Lindsey came on the musical scene as a sweet-voiced Mozart mezzo and has grown into a fearless singing actor. Although her German diction lacked bite, especially in the cabaret-style material, she has an inherent ability to inhabit and project a song. Daringly, she took on Hollaender\u2019s \u201cBlack Market,\u201d which was written for the mighty Dietrich: it comes from Billy Wilder\u2019s 1948 film \u201cA Foreign Affair,\u201d an acidulous political comedy set in occupied Germany. Lindsey didn\u2019t impersonate the original\u2014as Blier pointed out, she actually sang the notes, rather than a Dietrich-like approximation of them\u2014but she did throw in a few smokily accented phrasings. More important, she and Blier together caught the unscrupulous sophistication of the scenario, for which Hollaender supplied both words and music:<\/p>\n Powdered milk for bikes. During his American period, Hollaender worked with such lyricists as Leo Robin and Frank Loesser, but as a wordsmith he equalled any of them, and over time he mastered English well enough that he could replicate the mordant virtuosity of his German numbers. (\u201cGet the Men out of the Reichstag\u201d and \u201cThe Jews Are to Blame for Everything\u201d are two classics.) NYFOS<\/em> did a service by celebrating this often overlooked songwriting genius, whose wit was as lethal as his melodies were lithe.<\/p>\n Fiercest of all was Lindsey\u2019s rendition of Weill\u2019s \u201cWie lange noch?\u201d (\u201cHow much longer?\u201d), which was written in 1944 and broadcast into Germany for psychological-warfare purposes. The tune comes from Weill\u2019s French-language torch song \u201cJe ne t\u2019aime pas.\u201d The \u00e9migr\u00e9 satirist Walter Mehring inserted a new text that retains a torchy vibe\u2014this is ostensibly a complaint against a lying lover\u2014but implicitly urges resistance against Hitler: \u201cI believed you, I had gone mad \/ From all your talk, your vows.\u201d The title phrase alludes to Cicero\u2019s denunciation of a would-be dictator: \u201cHow much longer, O Catiline, will you abuse our patience?\u201d The airing of the song had no apparent effect: the madness went on until Hitler was dead.\u00a0\u2666<\/p>\n<\/div>\n \u2018 The preceding article may include information circulated by third parties \u2019 <\/em><\/p>\n \u2018 Some details of this article were extracted from the following source www.newyorker.com \u2019 <\/em><\/p>\n","protected":false},"excerpt":{"rendered":" We began in the world that was\u2014in the humid atmosphere of fin-de-si\u00e8cle Vienna, from which Zemlinsky, Schreker, and Schoenberg emerged. In a program note, Blier wrote that the \u201cFugitives\u201d concept was inspired by Zemlinsky\u2019s \u201cMeeraugen,\u201d or \u201cSea Eyes,\u201d which tells of a \u201cperson staring into the roiling abyss of the ocean.\u201d You had the feeling, […]<\/p>\n","protected":false},"author":2,"featured_media":2295583,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_jetpack_memberships_contains_paid_content":false,"jnews-multi-image_gallery":[],"jnews_single_post":[],"jnews_primary_category":[],"jnews_social_meta":[],"footnotes":""},"categories":[25179],"tags":[22008,365925,362131],"class_list":["post-2295582","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music","tag-magazine","tag-musical-events","tag-splitscreenimagerightinset"],"jetpack_featured_media_url":"https:\/\/celebrity.land\/en\/wp-content\/uploads\/2026\/02\/Vocal-Resistance-at-the-New-York-Festival-of-Song.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2295582","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/comments?post=2295582"}],"version-history":[{"count":1,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2295582\/revisions"}],"predecessor-version":[{"id":2295584,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2295582\/revisions\/2295584"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/media\/2295583"}],"wp:attachment":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/media?parent=2295582"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/categories?post=2295582"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/tags?post=2295582"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}\n
Souls for Lucky Strikes.
Got some broken-down ideals? Like wedding rings?
Sh-h-h! Tiptoe. Trade your things.<\/p>\n<\/div>\n<\/blockquote>\n