Word: fuerstman
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Dates: during 1960-1969
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Friday's concert in the Kirkland House JCR was an example of the quiet, unsung side of Cambridge musical life. There couldn't have been more than 25 people in the audience; nevertheless, Joan Fuerstman (mezzosoprano), Patricia More head (oboe), and Philip More head (piano) provided an evening's entertainment that was totally enjoyable and had all the virtues that more ambitious musical efforts here often lack: modesty, musicality, and ingenuity...
...cycle of seven songs on poems by Paul Eluard, each of which portrays a painter of this century: Picasso, Chagall, Braque, Gris, Klee, Miro, Villon. Despite their date, they, too, hearken back to an earlier period and have a great deal in common with the songs of Faure. Miss Fuerstman, who is studying for a Masters in voice at the Manhattan School, failed to achieve a sense of phrasing in the more declamatory songs; elsewhere, however, she exhibited a rare blend of spirit and control. Both compositions of Poulenc suffered from problems of balance...
...Joan Fuerstman's dark yet well-focused mezzo-soprano was the highlight of the evening. Besides the Poulenc she sang Ravel's Deux chansons hebraiques, which contrasts the rhapsodically set Hebrew poetry of the "Kaddish" with the simple Yiddish wisdom of "L'Enigme eternelle." She closed the program with a performance of the Siete Canciones populares Espanoles of Manuel de Falla. Both works date from 1914 and were perfectly suited to her expressive temperament. She performed them with an unostentatious professional polish that was pleasing to hear...