Fleur Barron, mezzo-soprano

Kunal Lahiry, piano

The Power and the Glory

Debut Series

Longy's Edward M. Pickman Hall

Tue. March 18, 7:30 PM

Mezzo-soprano Fleur Barron and pianist Kunal Lahiry present a personal, deeply resonant program that delves into intricate themes of identity and colonialism and confronts the legacies of Empire. Both of dual Asian and Western heritage, Barron and Lahiry shed light on the complex narratives of dominant powers, the silenced voices of the oppressed, and the emergence of hybrid art forms and identities from these entangled cultures.

Their program, The Power and the Glory, weaves together works from Latin America, Europe, and Asia, bringing a new voice to traditional and historical works, and showcasing contemporary creations. Together, Barron and Lahiry create meaningful moments of profound beauty, making space for empathy and understanding.

Program Details

Theodoro Valcárcel (Peruvian, 1902-1942) | Tungu Tungu
Olivier Messiaen (1908-1992) | “Doundou Tchil” from Harawi
Xavier Montsalvatge (1912-2002) | “Cuba dentro de un Piano” and “Punto de Habanera” from Cinco Canciones Negras
Ernesto Lecuona (Cuban, 1896-1963) | “La Señora Luna” from Cinco Canciones
Gustav Mahler (1860-1911) | “Von der Schönheit” from Das Lied von der Erde
Arnold Schönberg (1874-1951) | Tot, Op. 48, no. 2
Ilse Weber (1903-1944) | Ich wandre durch Theresienstadt
Kurt Weill (1900-1950) | "Neid" and "Epilog" from The Seven Deadly Sins
Maurice Delage (1879-1961) | Ragamalika
Kamala Sankaram (b.1978) | The Far Shore
Maurice Ravel (1875-1937) “La flûte enchantée” and “L'indifférent” from Shéhérazade
Kian Ravaei (b.1999) | I Will Greet the Sun Again
Zubaida Azezi (b.1990)/Edo Frenkel (b.1988) | Ananurhan
Huang Ruo (b. 1976) | Fisherman’s Sonnet
Chen Yi (b.1953) | Monologue
Traditional | Two Chinese Folksongs

Program subject to change.

“Barron’s mezzo-soprano is multi-layered and vibrant: imagine a voice that seems to have the blood in one’s veins and the life forces of nature running through it. Wonderfully even, both all encompassing and crystal clear, Barron’s mezzo draws one into the emotional journeys it charts. ”
Opera Today