The poems were written by a University of Manitoba mathematics professor, Paul Hiebert, who created a fictious Saskatchewan poet, Sarah Binks, and won the 1948 Stephen Leacock Prize with the book ostensibly written by her. More effective, and undoubtable memorable to Canadian Prairie ears, was A Sarah Binks Songbook. It was interesting to encounter, if not especially memorable. The song cycle Late Summer by the American Tom Cipullo picked up on the opening Copland, with rather spare piano writing, its lament for crickets, and a setting of an Emily Dickinson poem. The second half centered around two more recent works that will have been new to most of the audience. Here, as throughout the concert, HiebertвЂ™s piano playing was involving and sympathetic. Particularly effective was Fleurs (Flowers), Dahl floating over the block chords of an accompaniment that has a touch of Messiaen about it. The title is misleading - although there are puns in Il vole (which can mean вЂHe fliesвЂ™ or вЂHe thievesвЂ™) there is a darker side to these Second World War poems. Sometimes in such vocal recitals this can seem forced, but not here - it is as inherent to her as singing.ДЄnother unexpected choice were four songs from PoulencвЂ™s setting of Louise de VilmorinвЂ™s first published book of poems, FianГ§ailles pour rire (Engagements for laughter). Many of the songs were deliberately humorous, and she reveled in the opportunity to match facial expression and a little body acting to word. She has a natural empathy with the audience, addressing and involving them directly, both when introducing works and when singing. Whether that was tongue-in-cheek or not, Dahl had chosen a very varied program of works that reflected nature, the seasons, and in particular the theme of flowers, with their inevitable metaphors of love - successful or in vain. She explained that, on hearing she was to perform in the Muttart, she had assumed that meant the Muttart Conservatory until her pianist, EdmontonвЂ™s Shannon Hiebert, gently put her right. On the contrary: the proceedings started with her bubbling humour. Not for Dahl was any straight-laced, undemonstrative lieder recital. This advertisement has not loaded yet, but your article continues below.

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