Soprano Emma Versteeg, pianist Robin Versteeg and flautist Louise Burnet make up a top quality trio and they perform together with guest cellist Maya Burman-Roy. They presented a beautiful and cleverly themed programme of mainly contemporary works based largely on folk songs and traditional melodies from Ireland, Scotland and America.
It serves as the perfect haven at lunchtime, exchanging Fringe chaos for tranquility and beautiful music.
Three Haydn pieces set to Robert Burns’ poems had a rather Christmassy roundel feel to them and soprano Versteeg - an established Baroque singer - has the perfect voice for Haydn. She possesses a lovely timbre, good diction and a welcoming, confident stage presence. These were followed by Andre Previn’s Two Remembrances; hauntingly dream-like songs which illustrate Previn’s positioning between classical and jazz, even if the obbligato flute passages sounded a little seventies for our 21st century ears.
The highlight for me was ‘Bonnie Doon’ by the American composer Amy Beach. I could really hear the beauty of Versteeg’s voice and her tender approach to this song. Perhaps the top of her voice could do with a little more roundness, especially in the more lyrical repertoire. A special mention should go to the wonderful playing of Robin Versteeg and flautist Louise Burnet and also the rich toned and expressive playing of cellist Burman-Roy.
This concert marked the UK premiere of The Fathers, an atmospheric and haunting song cycle of poems by Sri Lankan poet Anne Ranasinghe and the late Russian poet David Vogel, set to music by Lori Laitman. The works focus on the parent-child bond permanently altered by the Holocaust. The main theme “Don’t Cry” is repeated between other songs; fragmented, repeated and extended each time until it completes the theme with its soothing tones, its repetitive nature serving as a healing balm. This atmospheric cycle was sensitively performed by the trio and was utterly haunting.
It was followed by A Suite o’ Bairnsangs by Thea Musgrave, which tipped the concert on the side of a little too much repertoire in the same vein. That said, a selection of the Hermit Songs by Samuel Barber were delightful, particularly ‘The Monk and his Cat’, where you can hear the cat plodding up the keyboards.
The Canongate Church is really a delightful and friendly venue with good acoustics for concerts. It serves as the perfect haven at lunchtime, exchanging Fringe chaos for tranquility and beautiful music. I was happy to make its acquaintance over my time in Edinburgh.
