Marie Plette's Soprano Shines at the Kaye Playhouse

Marie Plette, a seasoned opera singer, demonstrated her exceptional vocal range and expressivity at her recital debut at the Kaye Playhouse. With a background in singing in prominent opera productions, including the Metropolitan Opera's National Council auditions, Plette showcased her ability to transition from grand opera to intimate recital settings. She navigated a diverse repertoire, including works by Poulenc, Griffes, and Richard Strauss, that required a balance between delicacy and power. By shaping each song on her own terms, Plette delivered a compelling performance that left a lasting impression.

Key Takeaways:

• Marie Plette, a Metropolitan Opera National Council audition winner, made her recital debut at the Kaye Playhouse, showcasing her ability to transition from opera to intimate settings.
• Plette's performance demonstrated her exceptional vocal range and expressivity, navigating a diverse repertoire of songs by Poulenc, Griffes, and Richard Strauss.
• The singer successfully balanced delicacy and power in her performances of songs by Griffes and Poulenc, without sacrificing her characteristic strength.
• Strauss's "Befreit" and "Morgen" were notable highlights of the recital, with Plette's expressive changes in coloration bringing the texts to life.
• Plette's collaboration with accompanist Richard Mercier was praised, particularly in their performances of Griffes and Poulenc.

Statistics:

• Marie Plette has won the Metropolitan Opera's National Council auditions.
• Plette has sung in productions of "Die Zauberflote" and "Gotterdammerung" in the Metropolitan Opera house.
• The recital featured a diverse repertoire of songs by Poulenc, Griffes, and Richard Strauss.
• Plette's performance of Beethoven's "Ah, Perfido" allowed her to showcase her notable dramatic flair.
• Accompanist Richard Mercier received particular praise for his work in the Griffes and Poulenc pieces.

Sources:

• "Allan Kozinn, 'Marie Plette's Soprano Shines at the Kaye Playhouse'," New York Times, [No date cited].