Julia Bullock Redefines the Art Song, Challenging Tradition with Thematic Depth and Theatricality
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A new era is dawning for the art song, a genre experiencing a resurgence in recording but facing stagnation in its traditional performance format. A recent performance by soprano Julia Bullock at UCLA’s Nimoy Theater on Thursday night exemplifies this shift, showcasing a bold reimagining of the recital experience that prioritizes thematic resonance and theatricality over rigid formality.
The Stale Tradition of the Lieder Recital
For decades, the Lieder recital – the German term for art song, historically dominated by composers like Schubert, Schumann, Wolf, and Strauss – has adhered to a predictable structure. The classic image, as one observer noted, involved a singer in formal attire, standing stiffly before a piano with a secondary accompanist, the focus remaining on the song itself, experienced through the program notes. This approach, while reverent, has begun to feel dated, “approaching its sell-by date,” according to recent commentary.
A New Generation’s Bold Approach
Bullock, however, is at the forefront of a new generation of singers actively dismantling this convention. She, along with her collaborators, embraces a fluid approach, drawing from a diverse range of musical sources and incorporating elements of theater, dance, and other disciplines. This collaborative spirit extends to the pianist, now viewed as a creative partner, and often includes additional musicians, stage directors, and choreographers.
“From Ordinary Things” and the Power of Collaboration
Bullock’s latest project, “From Ordinary Things,” which premiered at the Nimoy Theater, is a testament to this evolving approach. Developed in collaboration with percussionist/composer Tyshawn Sorey and director Peter Sellars, the performance is described as a “full-scale operatic evening,” centered around the life and artistry of Josephine Baker. This project is slated for further development at Australia’s Adelaide Festival in March. Bullock’s previous work, a staged rendition of Olivier Messiaen’s “Harawi” with dance, which came to the Wallis in October 2024, further demonstrates her commitment to innovative presentation.
Pianist Conor Hanick, a member of the experimental collective American Modern Opera Company (AMOC), collaborated with Bullock on “Harawi” and again on “From Ordinary Things.” Cellist Seth Parker Woods completes the core trio. The program’s title originates from a lyric in “Shelter,” a song by André Previn with text by Toni Morrison: “In this soft place/Under your wings/I will find shelter/From ordinary things.”
A Performance of Contrasts and Challenges
Bullock’s performance began unconventionally, with the soprano singing unaccompanied on a darkened stage, illuminated by stark spotlights. While her voice possesses a “luxurious richness” capable of filling a room, the use of amplification proved problematic, diminishing intimacy and evoking a sense of “quiet terror,” reminiscent of Nina Simone’s “Images.” The opening solo, centered on a woman’s feelings of physical inadequacy, was powerfully delivered by Bullock.
The performance then transitioned into Maurice Ravel’s “Nahandove” from “Songs of Madagascar,” featuring piano and cello, but omitting the original flute part. This was followed by Tania León’s “Oh, Yemanja,” a mythic prayer. A planned inclusion of two new songs by León, with texts by Kevin Young, was unfortunately unavailable for this performance.
However, the presentation wasn’t without its drawbacks. The program and song texts were accessible only via cellphone download, leaving the audience “in the dark” without readily available lyrics. Furthermore, the amplification often obscured diction and created an unbalanced soundscape, even impacting a performance of George Walker’s rarely heard Sonata for Cello. Parker, a dedicated advocate for Walker’s work, highlighted the importance of reviving compositions by neglected Black composers, noting that the 1957 sonata, while not as complex as Walker’s later pieces, remains “tight, strong, accessible,” and features a particularly moving slow movement.
Avant-Garde Explorations and Enduring Standards
The second half of the program offered a more diverse range of selections. Bullock announced the discovery of songs by Robert Owens, a little-known American composer who wrote in the style of Richard Strauss, setting texts by 19th-century poet Joseph von Eichendorff. The program then ventured into the avant-garde with Salvatore Sciarrino’s “Ultimate Rose,” a piece that deconstructs early music through innovative vocal and cello techniques.
Additional selections included works by Nina Simone, André Previn (including a collaboration with Dory Previn and arrangements of Gershwin and Rodgers and Hart standards), and an encore of Massenet’s “Elégie.” Each song, it seemed, existed on its own terms, creating a unique dynamic between the performers.
Ultimately, Bullock’s performance left the audience pondering the significance of each piece. As one attendee reflected, the experience prompted a deeper consideration of why each song resonated so profoundly, revealing that, indeed, there are “no ordinary things.”
