Film: Unfortunate Travelers

The latter half of the program was French, starting with three songs of Satie: They had a fitting humor and spareness. Then came an assortment of Debussy songs, which Norman and Levine have performed, and recorded, beautifully. In “Beau soir,” the singer demonstrated some impressive breathing, but the song was much too slow, and sagging with flatness. In “Nuit d’étoiles,” she was badly off track, singing notes that Debussy did not write, seemingly unable to hear herself. Then, in “Mandoline,” she was secure again.

So she continued in the Chansons madécasses, expressing the urgency and exoticism of the score. These are little scenas, and Norman brought to them a welcome drama. And when she gives volume—that river of Norman sound— she can still send tingles down your spine and make your hair stand on end.

JS

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John Simon

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The latter half of the program was French, starting with three songs of Satie: They had a fitting humor and spareness. Then came an assortment of Debussy songs, which Norman and Levine have performed, and recorded, beautifully. In “Beau soir,” the singer demonstrated some impressive breathing, but the song was much too slow, and sagging with flatness. In “Nuit d’étoiles,” she was badly off track, singing notes that Debussy did not write, seemingly unable to hear herself. Then, in “Mandoline,” she was secure again.

So she continued in the Chansons madécasses, expressing the urgency and exoticism of the score. These are little scenas, and Norman brought to them a welcome drama. And when she gives volume—that river of Norman sound— she can still send tingles down your spine and make your hair stand on end.