DANA RICE AND ROBERT KNUPP AT MISSISSIPPI COLLEGE, JUNE 12, 2001

The one solo vocaL/organ recital amongst many fabulous recitals provided a
rewarding complement to the convention. Held in Provine Chapel on the
Mississippi College campus, soprano Dana Rice and organist Robert Knupp,
both MC professors, presented a fine matrix of repertory to a large
audience. Rice has a rich, flexible and well-used vocal instrument,
well-suited for the repertory listed. Additionally, she provides an
enviable, engaging stage presence. The modestly sized pipe organ was played
handsomely by Knupp; however, I found the opening work, Mozart's 1772 Milan
solo motet, "Exultate jubilate," (really a vocal concerto) to be uneven in
balance between voice and the "orchestral" accompaniment of the organ.
Consideration of Mozart's original orchestration of 2 oboes, 2 horns, and
strings with organ continuo might have helped. The brilliant finale of the
three movements, "A11eluia," however, was intact and thrilling to hear
again. Bel canto!

  For this reviewer, the high points of the program were the four
selections from Hugo Wolf's huge volume (fifty one songs, 1888) Moerike
Liederbuch, where the organ really shone with its chromatic, sustaining and
coloration qualities, richly enhancing poetry a piano could not possibly
accomplish. The organ arrangements (three were later orchestrated by
Wolf himself), noted to be of Max Reger, must have been from Reger's
fourteen 'H. Wolf geistliche Lieder,' arranged for orchestral
accompaniment. And yet, they may have been reduced/enhanced by another
person (perhaps Prof. Knupp) for the organ. At any rate, it "worked!" The
well-performed, deeply intense expressionism of Wolf, a dedicated
Wagnerian, and Reger, a Brahms/Bach inspiree, long will be remembered,
heard in the lovely acoustic of Provine Chapel. To use another writer's
words, it was "compressed Wagnerian music drama."

  Six of the ten popular and less-intense "Biblical Songs" of Dvorak
provided a fine transition to the closing three spiritual arrangements by
Moses Hogan, Margaret Bond and Hall Johnson. Although so very different in
stylistic/social era inspiration, the four composers each exhibit a very
personal musical style whilst being equally intimate and sincere with their
textual settings. It would have been interesting to hear the African-
American spirituals interspersed with Dvorak's songs. After al1, the Czech
was previously inspired while in America by H. T. Burleigh, familiarly
heard in his 'New World Symphony' and 'American String Quartet.'

   Rice and Knupp were warmly and enthusiastically applauded by the very
sophisticated AGO conferees, and rightfully so. They constructed, prepared
and performed a magnificent recital.

                                                     - D. Royce Boyer

Dana Rice and Robert Knupp were sponsored by Stuart C. Irby, Jr.




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