Lisa Relaford Coston and Robert Shoup
Familiar Faces at VWC

      Reading the scripture in unison in a chant-like even sound, Lisa Relaford Coston, alto and tenor Robert Shoup opened the recital with Abraham and Isaac Canticle II by Benjamin Britten (1913-1976) from The Five Canticles, first performed in 1952. The text is from an ancient English Miracle Play from Chester, England and is for alto, tenor and piano. This gruesome story form the Old Testament is of Abraham, in obedience to his God, taking his son Isaac to a remote place to sacrifice him. When Isaac realizes what is about to happen, he negotiates with his Father "If I have trespassed in any degree / with a yard you may beat me." Lisa Relaford Coston in a black pants suit and with no make-up creates a youngster pleading for his life.

      Robert Shoup as Abraham very dramatically burst forth on how much he loves his son but must do the will of God. When he draws out his long knife, both he and his audience see the horror of what he is about to do. The child is terrified of his father. The a cappella phrases by the duo are echoed on the piano by Bobbie Kesler Corletto while the vocal line continues. The drama is resolved when an angel stays his hand. God now knows that Abraham is obedient. As with many pieces that are new to this writer, I'd like to hear it repeated.

      Ralph Vaughan Williams' Four Hymns followed, performed by Robert Shoup and accompanied by Rebecca Gilmore Shoup on cello and Bobbie Kesler Corletto on piano. These are chamber-like pieces with the voice as another instrument. Mr. Shoup has a large, robust tenor voice with easy top notes. The three performers presented an exciting and lovely set well played and sung.

      After the intermission we heard Mass for Pentecost by Gordon Kreplin (b.1952) sung by Ms. Coston and accompanied on the guitar by the composer. Ms. Coston was elegant in a black gown with embroidered bright flowers on the bodice. Of the five movements of the mass, Sanctus was tender and a perfect fusion of voice and guitar. To quote the composer: "The Sanctus was intended as a love song." The melody came to him on a bicycle ride: "It was a morning so beautiful, my only desire was to give thanks as one would to a lover or friend for their presence." While the Agnus Dei was exceptionally lyrical the singer caressed the closing notes with a lovely tone. Mr. Kreplin has an international career as a guitarist and is an exceptionally fine performer. For more information on Mr. Kreplin and CDs of his playing, see his website: http://www.ascencionrecordings.com

      In Mass a Spanish influence can be heard but also a Latin American flavor with some jazz-like riffs. In his early twenties Gordon Kreplin studied guitar in Spain with José Tomas and later lived in Portugal where he began to arrange American favorites of Gershwin, Porter, etc. for voice and guitar. He found "the Portuguese are definitely enthusiastic about American jazz." All of this combined with his deep interest in sacred music to bring to his audience this lovely piece.

      The final set was five of Aaron Copeland's (1900-1990) Old American Songs. Robert Shoup sang Long Time Ago. Simple Gifts was done as a duet and Lisa did At the River "to soothe a weary heart." The duo also sang Chingaring Chaw and Bought Me a Cat - repeated as the encore piece with the audience joining in on the animal sounds of the chorus. It was a great deal of fun and having the songs done as duets made them fresh. Robert explained to me that they used parts from the choral arrangements by Copland to come up with duets.