On the evening of March 26, 1999, with Paris still awaiting the first real burst of spring, Dawn Upshaw sold out the Théâtre des Champs-Élysées with the ambitious (some would say gutsy) promise of an all-French program of songs by Milhaud, Roussel, Honegger, Satie, Ravel, Debussy, Koechlin, and Dutilleux--not a lineup for the timid, fearful, or unprepared. Yes, I was there, and along with most of the primarily French audience I waited to see how this American soprano--some would say brave, others audacious--would manage what could be a houseful of tough critics. Of course, we're not talking about a novice here; Upshaw is a vastly experienced international star--an exceptional musician of enormous accomplishment and uncommon stature in the worlds of opera, symphonic song, and solo recital. But still, this was France, where they demand you speak the language and ignore you if you fail to impress. One listen to the first song on this live concert recording and you'll know the outcome. She not only impressed, she dazzled. She won the hearts of every listener that night. Her diction was so impeccable (without the slightest detraction from expression, style, or coloristic effect) that the very attentive audience breaks into knowing laughter at the end of several of the humorous songs.

Many of the selections are not well-known but were chosen with the greatest care--a devoted tribute to French mezzo-soprano Jane Bathori, whose advocacy of contemporary vocal music during the 1910s and '20s is legendary, and who premiered many of the songs Upshaw performs here. By the way, the sound is remarkably natural, clear, and well-balanced; voice and piano sound as if they are present and live, just as they were in the theatre. There are a few audience noises, but they are minimal and quickly forgotten. Pianist Jerome Ducros, who maintains his own busy solo career, is an ideal partner whose every expressive gesture complements Upshaw's own. By the time the singer takes on and finishes the five Ravel songs, the totally enchanted audience has settled in for what it hopes is a very long evening. By the end of the Debussy set, an encore is inevitable. Following her spoken introduction (in French), Upshaw performs Dutilleux's "San Francisco Night", which has never been recorded before and for which the audience showed its unreserved appreciation. You are certain to do the same. [7/14/2001]

--David Vernier