By Jacklyn Serrano
On October 9th, 2024, I had the privilege of attending a livestream performance from the Juilliard School, titled Liederabend CCXXII: Female Portraits. This was my first experience with a classical music performance, and it was interesting. The concert featured an impressive array of vocalists from the Ellen and James S. Marcus Institute for Vocal Arts, accompanied by talented pianists from Juilliard’s Collaborative Piano Department. Among the many pieces performed, I appreciated Claude Debussy’s Chansons de Bilitis, beautifully sung by mezzo-soprano Sophia Baete, with Giancarlo Llerena on piano.
The setting of the actual concert was Paul Hall. It is a space known for its intimate atmosphere. Even though it was a livestream event, I could sense the warmth of the venue. The performance showed a great number of skills and emotions, a tribute to the performers’ training and artistry. There was a sense of respect from the audience, even though I was viewing the concert remotely. Many people were in attendance, and there was a sense of anticipation as the program began.
There were many works performed during that evening. The program included works by composers including Jake Heggie, Clara Schumann, Edvard Grieg, Franz Liszt, and Robert Schumann, each giving their perspectives on female portrayals in music. However, Debussy’s Chansons de Bilitis stood out for its ability to create an emotional reaction, and the vocals required from the performer. Debussy’s Chansons de Bilitis included three songs: La flûte de Pan, La chevelure, and Le tombeau des naïades. These songs were composed for voice and piano, setting the poetry of Pierre Louÿs. While both men and women can perform art songs, these selections seemed especially centered on female experiences, enhancing the program’s thematic focus.
La flûte de Pan opens with a melancholic mood, capturing together the delicate voice and piano. Baete’s mezzo-soprano voice was perfect for this selection. After watching another performance on YouTube for comparison, I appreciated her ability to convey the poetic essence of the music. Baete’s mezzo-soprano voice was perfect for this after watching another performance on YouTube and comparing the two. She was able to convey the quality of the poem and bring it to life. Her voice, depicting Debussy’s music, is my first impression of watching classical music live. Baete’s performance throughout these pieces was mesmerizing, as she performed with emotional depth, drawing the audience into the world of the songs.
In terms of the performance, Baete’s vocal control was amazing. Llerena’s piano accompaniment was exceptional as well. He had a delicate touch on the piano, allowing her voice to shine through without overpowering it. The pianist’s role in these works is very important, and Llerena’s also made the overall experience.
The other performers also showed great skills. Naomi Steele’s mezzo-soprano voice in Jake Heggie’s Spring was lively. But for me the performances of Baete and Llerena were the highlights of the evening. The performers were dressed elegantly. There was such a sense of professionalism that helped make the event feel accessible rather than intimidating. I have attended musical concerts before for pop music. This concert was a pleasant surprise.
The venue itself had great acoustics, and the sound of the live performance was rich and clear, even through the livestream. The warmth of the stage allowed for an intimate setting and created an atmosphere that invited deep listening. While I was watching remotely, the performance felt highly personal, and felt like the artist could really connect with their audience.
One interesting part of the concert was the opportunity for the performers to speak briefly before each piece. This was nice because it provided context for the audience and allowed us to understand the works being performed. In a live setting, I imagine this would have helped form a deeper connection between the artists and the audience. I would have enjoyed the chance to see the event in person to fully appreciate the live experience.
Overall, Liederabend CCXXII: Female Portraits was a great event that exceeded my expectations. The performance was emotionally powerful. Each piece offered a window into these female experiences through classical music. The performers had incredible skills, and the venue provided the perfect backdrop for such an intimate and moving experience. While there were several highlights throughout the evening, Debussy’s Chansons de Bilitis, as performed by Sophia Baete and Giancarlo Llerena, was the standout moment for me. I would even recommend this to a friend. The combination of phenomenal voices and a venue that enhances the music made this a concert worth repeating. I would be more open to classical music performances in the future. Whether live or streamed, it was an unforgettable evening of beautiful music, and I am grateful for the opportunity to experience it.
