Musica Plenti's moving performance of "Cry of the Children" was the high point of a tribute to Human Rights Day in Stamford, CT, on December 10 at Temple Beth El, a culmination of the message of the unity of all humankind and the plea for world peace.
It was preceded by brief remarks by clergy of the synagogue, Rabbi Joshua Hammerman and Cantor Deborah Jacobson, with words of thanks from Rabbi Richard Marker on behalf of MAZON and thoughtful comments on human interaction by Rev. Winston Hill of Bethel AME in Stamford, all of which served simultaneously as preparation for the music's message.
The standing ovation received by this exceptional vocal chamber ensemble was more than a response to a superlative performance. It reflected the deep thought, creative insight and profound compassion for human need "Cry of the Children" evokes whenever it is heard. Musica Plenti has taken this work deeply to heart and made it an expression of extraordinary significance.
It consists of 13 poems written at the the United Nations International School in New York City by students aged 7 to 15, expressing, simply but eloquently, their feelings about living, war, death and the need for peace.
The composer of the music is Robert Puleo, artistic director of the ensemble and its leading tenor, who designed this one-movement cantata for the 14-voice group in conjunction with Joseph Humphrey, a longtime driving force behind Musica Plenti, as well as one of its singers.
Puleo has skillfully alternated choral ensembles with vocal solos, to depict one day in the life of a child, beginning with idyllic innocence brutally shattered by the advent of war, with anguish, pain and finally death as its aftermath. The work ends with a quiet recollection of earlier paradise and "The Sound of Peace, What a Wonderful Word."
Accompanied by piano with oboe obligato and percussion, "Cry of the Children" makes skillful use of musical motives to evoke moods, thoughts and memories by means of an evocative phrase, giving it an emotional unity that becomes more intense on each hearing. It is a work that haunts the listener long after its performance.
Puleo is not only a composer of extraordinary gifts, he is also a distinguished tenor with impressive credentials. He began as a boy soprano at the Metropolitan Opera in the Sixties, sang the lead in "Amahl and the Night Visitors" under Gian Carlo Menotti's direction, and his compositions extend to operas, vocal and choral works all of which bear the imprint of his innate theatrical instincts.
"Cry of the Children" is remarkable in that it is deeply affecting and persuasive, while making no references to politics, religious concepts or government parties. Although designed for performance by groups with limited forces, Puleo and Humphrey said they have envisaged the possibility of expanding it to larger choral groups with additional instrumental accompaniment.
The impact of "Cry of the Children" is great. The children's poetry is remarkably eloquent in its simplicity and Puleo's music takes it deeply to heart. For this listener, the most memorable moments were the opening ensemble, "The Blue Dolphins," with its skillful choral writing and soprano solos, the interpretive insights of sopranos Natalie Cappiello and Katherine Humphrey, and mezzo-soprano Jodi Maxner's eloquent "Paradise".
Puleo has written for himself a demanding aria about death, "Damn Medic," which he sang with the intensity and conviction of a great lieder singer. Humphrey, as the authoritative bass voice that announces war, was riveting. Soprano Marcia Cirulli's short, symbolic solo about a white dove was a perfect jewel.
The commentary of the oboe, at times reflective, then stirring, is brilliantly conceived and oboist John Hanulik has made it into a many hued art form. Accompanist Justine Macurdy was acutely aware of the requirements of each moment and never faltered in their execution.
What conveyed itself so forcibly to the listener, however, was the absolute dedication and sincerity of every performer, reaching beyond individual attainment to achieve a concerted expression that was deeply moving. It was one of those rare moments in music that will be long remembered and treasured.
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