Classical & Opera

Classical & Opera Sister act Kristofer Barber speaks with soprano Roberta Alexander about the chal- lenges of programming all black, American, women composers for the Vrouwenmuziekmarathon With public performances becoming increasingly rare, Amsterdam-based American soprano Roberta Alexan- der’s appearance in the Kleine Zaal of the Concertgebouw as part of the ‘Vrouwenmuziekmarathon’ (Women’s Music Marathon) on 8 March is a unique opportunity to see a world- class artist working her signature mojo in the flesh. Joined by a feisty handful of sirens, including celebrated songstress Irene Maessen, rising Dutch star Tania Kross and Karin Strobos, whom Amsterdam audiences will remember from her last-minute debut as Octa- vian in De Nederlandse Opera’s 2011 production of ‘Der Rosenkavalier’, Alexander is spicing up the concert devoted solely to the repertoire of women composers with a giant dose of authentic American flavour. ‘American song has played an important role in my career and it seems fitting to finally get to include some of these ladies’ under-performed compositions in concert,’ Alexander muses. ‘I’m proud to perform this music that resonates so deeply within me. All these songs have such strong Music connections to my youth in what was Feminine classique: Irene Maessen, Tania Kross, Roberta Alexander, Reinild Mees, Karin Strobos then segregated America.’ Not one to shy away from a chal- Dream Portraits’. gender or cultural background. simply as Aunt Undine, the woman lenge, Alexander is performing works An early champion of the songs ‘Music is either good or it’s not,’ who loaned her parents the money by black American women compos- of Samuel Barber, Charles Ives and she says. ‘It doesn’t matter who wrote to buy their first car (a Studebaker) ers – all but completely unknown in Leonard Bernstein, Alexander has it. I suppose that either makes me a and forbade her to touch any of the the United States, not to mention in been introducing audiences to works bad feminist or a radical one.’ precious knickknacks in her living by American composers since the Introducing Dutch audiences room, Undine Smith Moore was a early 1970s. Her professional debut to the works of black American prolific composer and one of the early (after leaving the Netherlands Opera composers is a logical extension to champions of black American art None of these Studio) as Maria in a German-lan- Alexander’s boundary-shattering music in the United States. guage version of the popular ‘West career. Inspired by a fearless com- Alexander has programmed a composers get Side Story’ was a fitting prequel to a mitment to upholding the highest small set of songs around Moore’s rich jambalaya of a career that has musical and dramatic standards, arrangement of the classic spiritual an easy pass just struck a careful balance between Alexander has never let the colour of ‘Is There Anybody Here That Loves standard repertoire and lesser-known her skin determine the course of her My Jesus’ for this month’s concert because of their works, selected to showcase a unique impressive career, having delivered and remembers her fondly, yet with a gender or cultural temperament and talent. iconic and definitive performances tinge of regret. Settling on a programme for a con- of some of the repertoire’s most chal- ‘This is a woman who used to background cert devoted to female composers is lenging roles, including the fiendishly make me sandwiches when I was a no small feat, much less one focusing demanding title role of Janác˘ek’s small girl,’ recalls Alexander. ‘I knew on African-American women. Yet, Al- ‘Jenu˚fa’ at both Glyndebourne and her as this ordinary, normal person. exander is unabashedly critical of the New York’s Metropolitan Opera. This And now… if only I’d been up to Europe – including songs by Undine uneven quality of the representative concert is, in many ways, a tribute speed back then. The questions I Smith Moore, Julia Perry, Florence compositions and still surprisingly to some of the influential individuals would have asked her…’ Price and selections from a cycle by egalitarian in her repertoire selection who contributed to her education and Vrowenmuziekmarathon takes Margaret Bonds based on the poetry process. None of these composers get upbringing. place in the Concertgebouw’s Kleine of Langston Hughes, entitled ‘Three an easy pass just because of their Though Alexander knew her Zaal, Thur 8. See listings for details. March 2012 www.timeoutamsterdam.nl 71 .

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