Making it look easy

Anthony Kearns’s concert in Needham, Mass. on Oct. 13 was a lesson in vocal technique, versatility and control.

From Broadway standards to taxing opera arias and traditional Irish tunes, the tenor and his accompanist, the venerable Patrick Healy, entertained a crowd of more than 400 fans who were on hand for a night of music to raise money for St. Joseph’s Parish Schools.

In a recent interview, Anthony talked acknowledged that singing a concert — with its frequent switching between languages and song styles — can be difficult. “Singing is not easy,” he said. That may be the case, but it certainly didn’t look that way in Needham. The tenor’s control over his voice is as good as it gets.

This concert also featured a few songs that this reviewer has never heard Anthony sing before (at least not in person), including “Vainement, ma bien aimee” from Lalo’s Le Roi d’Ys, Hahn’s “A Chloris,” and “You’re Just in Love,” a duet from Call Me Madam, pieces that fit well with his program of concert standards. 

He also sang “Phil the Fluther’s Ball,” which he originally recorded with The Irish Tenors (on Live from Belfast,) which, with its quick patter and breath-challenging jumps, was a fun highlight of the evening. (Although its fast pace doesn’t compare to the breakneck speed of the Irish ditty song “Kitty Me Love” — another favorite.)

On a personal note, I’m partial to the Schubert “Standchen,” because it was a lied that my father, a semi-professional singer, had in his repertoire. I have memories of sitting on the stairs outside the room listening to him practice it — over and over! Needless to say, Anthony’s version is exquisite.

It’s always nice to hear Anthony explore the dynamics of a song, such as in “Ave Maria,” when he moves from fortissimo to pianissimo with ease and with no obvious break in his voice. It’s something that many singers can’t do and it is a demonstration of his training and well-developed passaggio.

“How Are Things in Glocca Morra,” from Finian’s Rainbow, was another highlight, a true Broadway ballad with a wide range that truly lets the tenor’s voice shine. Its interlude for the pianist is also lush and expressive.

And “the man behind the pianer,” as Anthony called him, was a fine partner for the evening. During Anthony’s breaks, Patrick regaled the audience with some funny tales and a few songs of his own — “We Kiss in a Shadow” from The King and I and the Major General’s song from The Pirates of Penzance. 

Throughout the evening, it was obvious how much fun Anthony and Patrick were having — both in performing and in working together. Patrick had his younger colleague laughing at numerous times (including when he played the introduction to one song in an incorrect, much too high, key), and once again it was clear how much the two admire and appreciate each other.

It’s thought that the male singing voice reaches its peak in its mid-40s, which means, at just 41, Anthony isn’t even there yet. It’s hard to believe that his voice could get any better than it is now, but given his dedication, it’s a foregone conclusion. 

Thought for a Thursday

Well said.

‘You’ve got to get the right start’

Note: I haven't updated this blog in... far too long. But what better way to reintroduce it than by sharing an article I wrote about Anthony Kearns's upcoming concert in Needham, Mass.?

Tenor Anthony Kearns to sing benefit concert for
St. Joseph’s Parish Schools

By Melissa A. Lynch

“Never has education been more important than it is now,” tenor Anthony Kearns says. 

Kearns, a founding member of The Irish Tenors, will perform a benefit concert for St. Joseph Parish Schools on Saturday, Oct. 13 at 7 p.m. in St. Joseph Church.

St. Joseph’s has been educating students since 1954, when the Sisters of Charity began teaching at the elementary school. The Monsignor James J. Haddad Middle School opened in 1996 and expanded the parish’s reach, bringing with it a mission of encouraging students “to think for themselves, not just for today, but for a lifetime as they develop an awareness of their place in society.”

Both schools share the charge of educating the whole student: mind, body and spirit.

The money raised by the concert will be used to support the general operating budget of the schools, according to Liz O’Connell, the concert’s organizer.

O’Connell says the parish is excited to have Kearns sing in the upper church, where they have a new Yamaha baby grand piano. 

Tickets for the concert ($35), as well as for a meet-and-greet event with Kearns ($50, including the concert), are available at the St. Joseph’s rectory and online at www.saintjoes.com.

Kearns, recognized in 2010 by the Irish Music Association as the best Irish Tenor in the U.S., U.K., and the European Union, has a number of operatic roles to his credit, along with his 13-year, ongoing association with The Irish Tenors. He sang the title role of Faust, Don Jose in Carmen and Don Ottavio in Don Giovanni, all in Ireland; and, in the U.S., Romeo in Romeo & Juliet: Then and Now, Edgardo in Lucia di Lammermoor, and Faust, all for Opera Naples in Florida, and Alfred in Die Fledermaus in Colorado.

Earlier this year, he sang at the John F. Kennedy Presidential Library at a celebration of the Kennedy family’s roots in Ireland (Enjoy that concert in its entirety here). “I’ve never heard a better Irish Tenor voice,” the late president’s sister, Jean Kennedy Smith, had previously remarked upon hearing Kearns sing a tribute to her brother at an event in Ireland. 

The Nashville Scene called Kearns “a superb singer, possessing a lyrical, virile, disciplined voice; he is a confident, compelling performer.” And critic Peter Landsdowne wrote, “He may well become the Tenor of our Times.”

The St. Joseph’s concert is one of several benefits scheduled during Kearns’s fall tour of the United States. He says he enjoys being able to give back to the community like this. “If we can help on our way, we will. We’ve all been helped in some shape or form along our path in life.” 

Kearns, who hails from a small village in County Wexford, Ireland, knows the value of education. 

“There’s no guarantee in the world we live in today of work at any level, and that’s the scary thing,” he says, “with the current climate and the way the world has gone, and the economies.”

Historically, Irish Catholics had to fight for their own educations, so they understand its importance. “Catholics were held down [in Ireland], and they had to practice their faith privately,” Kearns explains. Catholic children were not allowed to attend regular schools.

“Kids were educated in what was known as hedge schools – literally, that was what it was, a hedge somewhere in a field that the kids sat under while the teacher taught them,” Kearns says. “So education is very important in Ireland, and people never forgot it. The Irish have done very well around the globe; their education system is very, very good. People get a good standard of education from a very early age — they’re exposed to music and languages and everything else; these are the tools that will carry them through life.”

“You’ve got to get the right start,” he adds. “If you don’t have the right foundation, you can’t build the house.” 

For more information, visit anthonykearns.net.

Broadway legends answer fans' questions

Are there any better performers than Patti Lupone and Mandy Patinkin? I don't think so.

The Broadway legends, currently starring in "An Evening with Patti Lupone and Mandy Patinkin," answered questions for Broadway.com's "Ask a Star" segment.

It's a holiday gift - click here to enjoy!

It's beginning to sound a lot like a Bublé Christmas...

OK, truthfully, it's sounded like Christmas for a long time. The radio stations around here have been featuring all-holiday playlists since before Thanksgiving (maybe a bit too early, even for my tastes!).

This is a wonderful time of year for music afficianados. Whether your interests are classical, pop or traditional, there's always something new to sample. And this year, Michael Bublé has given us a CD that has a little of everything. From the traditional "It's Beginning to Look a lot Like Christmas" to the New Orleans-inspired "Blue Christmas," with gorgeous renditions of "Silent Night" and "Ave Maria," it's definitely a keeper. And of course, it's got plenty of that Buble big band swing.

Enjoy:





UPDATE: Just came across this on Billboard.com: Michael Bublé Makes Adult Contemporary Chart History. He's monopolizing the top two slots on the chart with "All I Want for Christmas Is You" and "It's Beginning to Look a Lot Like Christmas." The article also states that in its first six weeks, "Christmas" has sold 1,038,000 copies, according to Nielsen SoundScan. The album is one of just seven to sell more than a million copies this year. And that number could increase by another 400,000 when the charts are refreshed on Friday. 

What are your favorite holiday tunes? 

'Broadway Goes Hollywood' to benefit Worcester children's agency

Next weekend, a group of talented singers (and one amazing pianist) will perform "Broadway Goes Hollywood," a concert of songs from Broadway musicals that were made into films. The concert is a fundraiser for The Carriage House, a grief support center for children run by Children's Friend Inc. of Worcester. All services provided by the center are free so the fundraiser is crucial to helping children who have lost an immediate family member.

The singers (who donate their time) are active in the area music world, and may be easily recognized by central Massachusetts concert- and theater-goers: Tom Lynch (yup, my dad), Paulette Labarre, Richard Munroe, Mike Gondek, Elisabeth Gondek, and Alison Zangari.

For more information or tickets, check out the Children's Friend website (you can also learn there about all of the wonderful things they do).

Need something to entice you? Check out this selection from their last concert.



And, because I'm a bit partial, one more...

Irish song — A matter of history

A few years ago, I was introduced to The Irish Tenors. Created in the same vein as The Three Tenors (Pavarotti, Domingo, Carreras), this endeavor brought together three of Ireland's finest voices to sing the music of their homeland. Their concerts feature many, many songs that proclaim a desire for freedom and/or tell the story of brave Irish men and women. Their shows are mainstays of PBS pledge drives (and yes, "Danny Boy" is always sung).

It was around that time that I took a real interest in my family's Irish heritage. I haven't figured out who in our Lynch clan made the first trip out of Ireland, but I've done a lot of reading up on the history of Ireland and her people.

And one thing that has struck me is the amount of music that has come out of such a tiny country (about the size of Indiana) -- and how much of that music actually documents its history. In fact, I wonder if any other country has produced such a large repertoire of music that also serves as a historical record? The rebellion of 1798 seems to have particularly inspired poets and songwriters. But of course the writers, proponents of freedom, weren't just documenting events (and creating legends) — they were drumming up support.

As people traveled between counties or even between countries — like the first Irish who emigrated to America in the 19th century — they brought the songs with them, songs that told of the horrors endured by the Irish at the hands of the British. American brethren would then send support (i.e., money, particularly in the case of the 1916 Easter Rising).

Wikepedia even has a page devoted to Irish ballads, with a long list of political/soldiering songs, divided by rebellion: 16th and 17th centuries, 18th century, 1798 rebellion, 19th century, Napoleonic wars, The Great War (World War I), 1916 rising, War of Independence and Post-Treaty Republicanism, The Troubles (including U2's classic "Sunday, Bloody Sunday") ... wow, those Irish sure had to fight a lot. (And this doesn't even include the Norman invasion and the heavy-handed rule by Elizabeth I.)

One of my favorite songs I first heard sung by the Irish Tenors' remaining founding member, the fabulous Anthony Kearns, is "Boolavogue." The song relates the story of the 1798 Battle of Vinegar Hill — when the doomed Father John Murphy led his group of rebels against the British troops.




For the people of Ireland, these songs are deeply ingrained in their very being. They aren't a people to forget their history, and they sing these songs in their pubs and in their homes — and in their sporting venues. "The Fields of Athenry," a folk ballad set during the Great Irish Famine about a man who has been sentenced to prison in Botany Bay, Australia, for stealing food (from the wealthy, oppressive British) to feed his family, is actually an unofficial anthem of the Irish National Rugby Union. (Check out the fans singing along.)

Even though the Republic of Ireland won its freedom in 1921, and the Troubles in Northern Ireland came to a peaceful end in 1999, I doubt Ireland's balladeers and poets will stop recording the country's events in song. It's only a matter of time before the country's current economic trouble is immortalized... oh... wait...



I created the slideshow at the top of this blog entry as a visual complement to my words. The music is "Red Is the Rose," by The Irish Tenors, and "Boolavogue," by Anthony Kearns.