Mezzo-soprano Fleur Barron captivated audiences on July 1 at the Oregon Bach Festival, performing alongside pianist Gloria Chien in a remarkable Liederabend, or evening of song, at the University of Oregon’s Beall Hall.
Chien began the event with Clara Schumann’s Prelude & Fugue No. 2 in B-flat, showcasing a romantic, contrapuntal style reminiscent of both Chopin and Bach.
Barron then took the stage to present a diverse selection of lieder by her namesake, Robert Schumann.
Her powerful presence and commanding intensity drew the audience in as she portrayed various characters—from a man eager to elope with his lover to a heartbroken individual reflecting on a lost relationship.
In “Mein Wagen Rollet Langsam” (“My Carriage Rolls Slowly”), Barron evoked poignant memories, as the intertwining piano arpeggios lingered long after her voice faded.
Barron’s background in comparative literature greatly informed her thoughtful selection of songs, rich in both textual depth and musicality.
One highlighted set was Gustav Mahler’s Ruckert-Lieder, a collection of songs based on poems by Friederich Ruckert that accommodate a wide emotional range, from sentimental to noble.
Barron’s interpretation imbued these pieces with a dreamlike quality, especially evident in “Blicke Mir Nicht in die Lieder” (“Do Not Look Into My Songs”) and the breathtaking “Liebst Du Um Schönheit” (“If You Love For Beauty”).
Her performance was simultaneously grand and intimate, encapsulating the essence of Mahler’s music.
The mezzo-soprano showcased her versatility in a set of songs by Spanish composer Xavier Montsalvatge titled “Cinco Canciones Negras.”
Far more theatrically physical, Barron interacted with the piano, nearly stepping into its curve, which added a layer of stagecraft to the performance.
One standout number, “Cuba Dentro de un Piano” (“Cuba In a Piano”), concluded with haunting lyrics reflecting on loss and change in Havana, resonating powerfully in Barron’s capable hands.
The West Indian rhythms and melodies in Montsalvatge’s music highlighted Barron’s exceptional storytelling ability, whether portraying a sensual Creole maiden or a sorrowful lullaby for a Black child.
The evening concluded on a lighter note with three French songs by Charles Trenet, including the well-known “La Mer” and the delightfully whimsical “Boum!”
Barron’s artistry and expressive vocal narrative not only displayed her proficiency but also enchanted the audience, leaving a lasting impression of her capabilities as both a singer and a storyteller.
Overall, her performance at the Oregon Bach Festival was a resounding success, underlining why she has earned accolades as a Grammy-winning artist.
image source from：orartswatch
