THE VIRGINIAN-PILOT
Copyright (c) 1995, Landmark Communications, Inc.
DATE: Monday, February 13, 1995 TAG: 9502130078
SECTION: LOCAL PAGE: B2 EDITION: FINAL
TYPE: Music Review
SOURCE: BY MARK MOBLEY, MUSIC CRITIC
LENGTH: Medium: 64 lines
One of the world's reigning divas taught two chapters of black history Sunday at Chrysler Hall. It was a lesson her audience won't forget.
Soprano Kathleen Battle, whose youthful voice and sparkling manner have made her a superstar, sang spirituals and Duke Ellington songs with a jazz trio for a Virginia Symphony benefit. At the concert's lesser moments, it was pleasant classical crossover. At its many peaks, it was testimony that could help a listener cross over to glory.
Battle seemed unsettled at the beginning, entering the dimly lit stage with trepidation and fussing over her shawl, microphone and music. In ``Couldn' Hear Nobody Pray'' she didn't quite mesh with the group of piano, bass and saxophone. In ``Steal Away'' she opened up a bit. In ``All Night, All Day,'' the bass and sax left the stage and she found her stride.
Given the distractionless voice-and-piano format of the traditional recital, Battle cut loose. Pianist Cyrus Chestnut played with the hymn-like solemnity and regularity. She sang with ease and power. Their ``Give Me Jesus'' was equally compelling.
She seemed even more comfortable with the Ellington songs, which she made a point of calling ``classical music.'' Her singing them, and juxtaposing them with spirituals, was certainly appropriate - Ellington was deeply interested in sacred music and opera.
Battle sang these songs with a hint of swing, effortlessly nailing all the pitches in the quick passages of ``Just Squeeze Me.'' With the amplification, she produced and especially breathy and light sound. She even allowed herself a touch or two of unforced, pop-style singing.
Chestnut is a formidable young pianist. In ``Steal Away,'' he produced subtle rhythmic variations on the languid pace. His introduction to ``He's Got The Whole World In His Hands'' was thunderous, and the audience laughed when the volume suddenly dropped. He opened the second half with a solo waltz version of ``Don't Get Around Much Anymore,'' in which cross-rhythms expanded on the glancing quality of the tune.
James Carter wound lazy, quiet-storm-style soprano sax lines around ``Couldn' Hear Nobody Pray.'' But the trademarks of his soprano and tenor solos were jokey quotes of other tunes, squeals and endurance displays. Between the tricks, his bass clarinet playing was creamy.
Ira Coleman provided cool walking bass lines. He led off a trio version of ``Caravan'' with a long and soulful bowed solo.
The concert closed with ``Come Sunday'' from Ellington's ``Sacred Concerts.'' Battle was radiant as she sang, ``God Almighty, God of love, please look down and see my people through.''
Her people rose to their feet. ILLUSTRATION: CONCERT REVIEW
Soprano Kathleen Battle
With pianist Cyrus Chestnut,
saxophonist James Carter and bassist Ira Coleman.
Sunday at Chrysler Hall,
Norfolk
by CNB