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Student virtuoso gives stirring vocal recital in Killian Hall



Kenneth Goodson '89, baritone.

With Jessica Wang G, piano.

Advanced Music Performance Recital.

Killian Hall, Friday, February 24.


MAKE NO MISTAKE. Kenneth Goodson is an exceptionally talented singer. How far he will go as a vocalist is entirely up to him -- his is an abundant supply of talent, the kind from which mature artistry is forged. Indeed, his Killian Hall recital of last Friday afforded a satisfying glimpse of just how far along he has already come in achieving some extremely advanced musical plateaus.

By refusing to become rattled by shaky accompaniment, Goodson demonstrated the constancy and self-assuredness which differentiates the amateur from the seasoned professional. Particularly during his renditions of five selections from Schubert's Die Sch"one M"ullerin, but generally throughout the afternoon, Goodson revealed an interpretive ability vastly out of proportion with his youthfulness. The concluding song, "Ungeduld," was thrilling.

Opening with two songs by Gabriel Faur'e, Goodson displayed fine tone quality in all ranges, particularly the higher ones. His French was impeccably pronounced. If his dynamic range was not all that one might have wished, then his expressive range was more than enough compensation. Following were the five strong Lieder, and two of Benjamin Britten's Three British Folk Song Arrangements, both performed admirably, touchingly, at times even humorously. Why he chose not to perform the third piece of this beguiling set is a mystery.

Between the Schubert and the Britten, Jessica Wang G played two solo piano pieces by Aaron Copland. Nervous and shaking, she seemed daunted by what strikes this reviewer as being two rather easy pieces. Perhaps she was still reeling from a handful of egregious errors in the Schubert accompaniments, although they seemed to have no effect whatsoever on Goodson. , then she too should not have been rattled.Scheduling a "piano interlude" during a student vocal showcase of medium length was a curious and, I thought, ill-advised move.

These unfortunate technicalities of the performance, however, were slight and not at all memorable. Above all else, what shone through here were the makings of Kenneth Goodson's virtuosity.