Here, Over the Rainbow

Philadelphia native and former WNO Cafritz Young Artist Leah Hawkins is the recipient of the 2023 Marian Anderson Vocal Award, which goes to singers on the verge of significant careers. Previous recipients include Denyce Graves, Patricia Racette, Lawrence Brownlee, Nathan Gunn, Patricia Racette, Sasha Cook, Michelle DeYoung, Eric Owens, J’nai Bridges, Jamie Barton, and Janai Brugger, so it seems the jurists for this prize know what it takes to succeed in the field.

I concur with their assessment: Hawkins impressed me on numerous occasions during her time as a Cafritz Artist (especially in Proving Up), and judging by her recital yesterday afternoon in the Kennedy Center’s Terrace Theater, she impressed a number of other people as well. The house, filled with donors, peers, the curious, and I suspect more than a few friends and family, gave Hawkins a raucous, warm welcome as she and collaborative pianist Kevin Miller (also a former Cafritz Artist) strode onstage.

Taking a microphone from Miller, Hawkins sounded nervous and excited as she welcomed the audience and announced a change in the program in honor of Anderson: Florence Price’s spiritual  “My Soul's Been Anchored in the Lord,” would lead off the recital. Hawkins also said many of the pieces she was performing this afternoon played a part in her evolution and education as a singer. Richard Wagner’s Wesendonck Lieder followed, with Hawkins sharing that in her “humble opinion” Wagner’s music was much more interesting than Mathilde Wesendonck’s poetry. She’s probably right about this, but in my humble opinion, this is probably true for 94% of the entire lieder canon. But what do I know? Well, I do know one more thing- I had a pretty difficult time following what Hawkins was singing compared to the text printed in the program. Honestly, after not attending a recital for three years, maybe I’ve lost that skill, but I only experienced the challenge during the Wagner piece.

Next was Poulenc’s “Les Chemins de l’amour,” and from the first few notes it was clear that French is a much better fit for her at this stage of her career. That can certainly change, but as she sang the Poulenc piece I stopped listening to what she was singing and focused on how she was singing, captivated by her phrasing, clarity, and especially by her delicate vibrato. I also began to wonder if Hawkins is actually a mezzo.

Selections from Copland and William Grant Still followed the intermission. Hawkins continued to draw the audience toward her by physically inhabiting Emily Dickinson’s “The World Feels Dusty” during the Copland piece, and by not missing a beat when her father’s cell phone began ringing at the end Still’s “Idolatry,” smoothly stopping the applause with a raised finger when the sound went off and saying “I know that’s my dad’s ringtone. Daddy, turn it off please.” Much warm laughter followed, as did my certainty that French really is her strong suit as she sang Still’s “Poème,” which features lyrics by Phillipe-Thoby Marcelin. Gorgeous, as was “If You Should Go,” with lyrics by Countee Cullen.

The world premiere of Jasmine Barnes’ Proverb, a three-part setting of proverbs and settings of Zimbabwean, Hausa, Yoruba and Swahili origin to Barnes’ music, was lively and vibrant, but Hawkins’ attempt to get the audience involved in the final part, “Hurry Hurry,” was only a moderate success. Barnes was in the house and was warmly received. I’d like to hear more of her work.

Two selections from Peter Ashbourne’s Five Songs for Soprano and Piano, based on Jamaican folk songs, were in a similar vein but more developed. That they were translated was a bit puzzling to me, but I’m not sure I would have caught some of the wry humor in “Nobody’s Business” if they weren’t. 

For her encore Hawkins sang the same song she had sung at her 8th grade graduation: “Somewhere Over the Rainbow.” The lovely woman seated next to me teared up, and I doubt she was the only one. At this early stage of her career, Hawkins already possesses a strong stage presence, and knows how to work a room, and accordingly, has an impressive list of engagements coming up. Keep your eye on her. 

Finally, every great recital succeeds because it’s a collaboration, and Kevin Miller was an excellent accompanist. His pacing is superb- never rushed, thoughtful at every turn, and in complete harmony with Hawkins throughout, as if they have been partners for years. His playing was especially impressive during the Wagner segment.

Photo by Dario Acosta.